Dickens' Literary Devices Structural Features

Scene-by-Scene Summary – Alongside key quotations from each scene. Context – A Christmas Carol was written by Charles Dickens in 1843 Charles Dickens – Charles Dickens was born in 1812 and Class Divides – Despite industrial changes altering It is a foggy Christmas Eve, and Scrooge is working in his counting house. He spent the first years of his life in Kent, England. At 9, he the social landscape, there were still relatively refuses to buy another lump of coal to heat Bob Cratchit’s (his clerk’s) office. “Marley was dead: to begin with. There is moved to London. At 12, his father was sent to debtors’ distinct social classes in operation: the nobility upper Scrooge’s cheerful nephew, Fred, enters, inviting Scrooge to Christmas party, no doubt whatever about prison for racking up huge debts, and Charles was given a class, the middle class, and the working class. Life but he declines. After he leaves, two gentlemen enter, asking if Scrooge is that. The register of his burial painful job labelling bottles near the prison. He found this period in was terrible for the poorest: Lack of money resulted willing to make a charitable donation to the poor. Scrooge again declines. He was signed by the clergyman, STAVE ONE begrudgingly gives Bob Cratchit the day off. Scrooge follows his usual routine his life hellish, and it doubtlessly led him to draw readers’ attention in a negligible food supply. For some working the clerk, the undertaker, on the way home. At home, he sees the ghost of his old business partner (Jacob and the chief mourner. to the plight of the poor when he later found success as an author. families, money was so tight that they required Marley) in the knocker. Marley is in chains as punishment for his selfishness and Many of his works are about social hardships and inequalities. their children to work in order to survive. Scrooge signed it.” greed when living. He says that he seeks to save Scrooge from the same fate, The Victorian Era– The Victorian era describes the period Health and Medicine –Healthcare was more of a luxury and hence Scrooge will be visited by 3 ghosts over the next 3 nights. in which Queen Victoria sat on the English throne – at the time, and medicine was nowhere near as Scrooge is confused to wake at midnight, as it was after 2am when he went to “But the strangest thing about it was, that between 1837 and 1901 (most of Dickens’ life). Whilst this advanced today, Many diseases were rife, and childbirth sleep. At one o clock, Scrooge is visited by a strange child-like figure that from the crown of its head there sprung a was a time of industrial revolution, it was also an and poverty were very real dangers to people living in emanates wisdom – The Ghost of Christmas Past. The spirit touches Scrooges bright clear jet of light, by which all this extremely harsh time to live, and the differences between the lives of the era. As a result, a middle class person may expect to live to 45 at heart, granting the power to fly. The ghost takes Scrooge back to where he was visible; and which the richest and the poorest were exacerbated. The Victorian era was the time, whereas a working class person would have been lucky to was raised – Scrooge is touched by memories of his childhood. He sees himself was doubtless the as a schoolboy spending Christmas alone, being visited by his sister, being at a a period of great change. In this time, the population of England have lived half that time. In A Christmas Carol, the restrictions in STAVE TWO party held by Scrooge’s old boss Fezziwig, and with his old partner Belle, who occasion of its using, in its doubled – from 16.8 million 1851 to over 30 million in 1901. healthcare are evident in Tiny Tim’s continued suffering. is breaking off their engagement on account of his greed. He sees Belle in a duller moments, a great Workhouses– A workhouse was a place where a person Christmas– We now associate Christmas as being a time more modern time, with her husband, discussing how Scrooge is now ‘quite extinguisher for a cap, went if they could not afford to financially support of seasonal goodwill, love and friendship. However, before alone in the world.’ Scrooge is upset by the visions, and begs with the ghost to which it now held under themselves and their families. Men, women and children the Victorian era, when writers such as Dickens spread take him back home. Scrooge finds himself back in his bedroom, where he its arm.” (mostly orphans) lived and worked in the workhouses, which were these messages through their novels, there was no Santa once again falls asleep almost instantly. very crowded – making living conditions unhealthy and unpleasant. Claus, Christmas cards, and no holidays from work! Christmas Day The bell strikes one, and Scrooge is awake once more. At fifteen minutes past one, he wanders into the next room, where he finds the Ghost of Christmas “Its dark brown curls People slept in dormitories, where disease was easily spread. In A was a far more low-key affair. Writers such as Dickens encouraged were long and free; Christmas Carol, Scrooge voices his support for workhouses. middle-class families to share their wealth and act selflessly. Present waiting for him. He is a majestic jolly giant, and sits atop of a mountain of food. The spirit takes Scrooge to the bustling streets on Christmas free as its genial face, morning, where passers-by joyfully greet each other. The spirit then takes its sparkling eye, its Scrooge to the home of Bob Cratchit, where the family savour the Christmas Main Characters – Consider what Dickens intended through his characterisation of each of the below… STAVE THREE open hand, its cheery that they can afford. Their visibly-ill son, Tiny Tim, is cheering despite his voice, its Ebenezer Scrooge – Scrooge is the lead protagonist of the novella. The Cratchits– Bob Cratchit is Scrooge’s kind, mild-mannered clerk, ailments. Scrooge begs to know whether he will survive. They also visit Fred’s unconstrained He is a miserly owner of a counting house (what would now be who is treated terribly by his employer. He is a very poor man, with Christmas party, which Scrooge enjoys (though no one can see him). demeanour, and its called an accountant’s office). Initially greedy, selfish and cold, a large family, including Tiny Tim. Tiny Tim is a young boy who has Eventually, Scrooge is brought to a vast expanse, where two sickly children, ‘Want’ and ‘Ignorance’ emerge. When Scrooge asks if there is anything that joyful air.” Scrooge hates Christmas and lacks any form of Christmas spirit. He been born with physical disabilities that his family are too poor to experiences a moral and psychological transformation through his have treated. Despite these hardships, the family are cheery and can be done, the spirit mocks his prior selfishness. visits from the Ghosts of Christmases Past, Present and Yet to Come. determined to enjoy the few positives that they can get from life. Scrooge is approached by a hooded phantom. The spirit is silent, and Scrooge I fear you more than any spectre I have seen. But as Quote: “It's enough for a man to understand his own business” Quote: I am sure we shall none of us forget poor Tiny Tim” is terrified by him. Scrooge pleads with him to provide his next lesson. The “ I know your purpose is to Jacob Marley and Fred– Joseph Marley is Scrooge’s late business The Ghost of Christmas Past This is the first spirit to visit Scrooge. ghost takes him to the stock exchange, where men discuss the accounts of a – rich man, a dingy pawn shop, where the rich man’s stolen goods are being do me good, and as I partner, and Fred is Scrooge’s nephew. They represent the two He is a curious child-like figure that has an illuminated head, STAVE FOUR sold, and the Cratchit household, where the family struggles with the death of hope to live to be another extremes of Christmas spirit. Joseph Marley symbolises the limitations symbolising how shining a light on memories from the past can be Tiny Tim. Scrooge is then taken to a freshly dug grave in a graveyard. The man from what I was, I of a life-lived focused on greed and selfishness, whilst Fred’s life used to illuminate one’s thoughts and behaviours in the future. The gravestone reveals that it is his own grave. Appalled, Scrooge begs with the am prepared to bear you appears fulfilled through his perpetual joy, kindness and interactions Ghost of Christmas Past takes Scrooge to a number of places from spirit to give him another chance to show that he has learnt his lesson. The company, and do it with with others. After his death, Joseph Marley has been condemned to his childhood and early adulthood, including his old school, phantom begins to tremble and disappears, and once again Scrooge finds himself in the relative safety of his own bed. a thankful heart” wander the world as a miserable ghost. hometown, and the scene of his engagement being broken off. Quote: "you have yet a chance and hope of escaping my fate.” Quote: “Strange to have forgotten it for so many years!” Scrooge realises that he has been returned to Christmas morning, and is The Ghost of Christmas Present – The Ghost of Christmas Present The Ghost of Christmas Yet to Come – The Ghost of Christmas Yet utterly overjoyed. He pays the first boy that he meets a huge sum to deliver a great big turkey to Bob Cratchit’s household. He bumps into the gentlemen “He had no further is the second of the three ghosts to visit Scrooge. He is a majestic jolly to Come is the third and final spirit to visit Scrooge. He is a silent collecting for charity, apologises for his prior behaviour, and promises to intercourse with Spirits, but giant, who is dressed in a green robe. His lifespan is restricted to phantom that is clad in robes (he rather resembles common donate lots of money to the poor. He attends Fred’s party and is so happy and lived upon the Total Christmas Day, and he has ‘over 1800 brothers’, representative of the characterisations of ‘Death’). He presents Scrooge with an ominous kind that the other guests can barely believe his behaviour. The next morning, Abstinence Principle, ever other Christmas Days that were once in the present. He escorts view of his own death: the only people who his death remotely STAVE FIVE he pretends to scold Bob Cratchit for arriving late, before promising to give afterwards; and it was Scrooge on a tour of how his contemporaries spend Christmas day, affects are those he owes money to (who are relieved), those who him a large raise and to care for his family. As time passes by, he stays true to always said of him, that he to force him to contemplate his own solitary existence. He also shows can make money from him (such as those dealing with his estate) his word – he helps the Cratchits and becomes like a second father to Tiny knew how to keep Christmas well, if any him the need to consider ‘Want’ and ‘Ignorance.’ and those who he could have saved (Tiny Tim). Tim, who does not die. Scrooge brings Christmas cheer to every day, and man alive possessed the knowledge….God shrugs off the doubts that others have about his changed behaviour. The Old Major Quote: ““Come in! and know me better, man!” Quote: "The Spirit answered not, but pointed onward with its hand.’ narrator concludes by suggesting that Scrooge’s changed attitude and bless us all, every one!” behaviour should be shared by everyone.

– A theme is an idea or message that runs throughout a text. Themes Dickens’ Literary Devices Structural Features

Greed and Selfishness – Characters such as Scrooge represent the selfish middle classes, who sought to amass, rather than share their This gives the reader a better image of Five Staves – The story is set out in five Staves – a structure wealth. Jacob Marley demonstrates the burden that such a selfish life will inevitably bring. Through these characters and the events of the Simile characters and places, e. g Scrooge described that mimics musical organization – the opening sets the novel, Dickens criticises how wealth had become associated with the root of happiness, at the expense of close relationships and goodwill. as ‘hard and sharp as a flint.’ scene, the middle is the turning point, and the last stave concludes. Divisions– Divisions are evident throughout the novel, as those with power and money seek simply to exert and recycle their The narrator gives views to tell the reader Surface Level Story – A literal story that works on a surface level, Clear Narrative advantages over those without (rather than aiding them). The book shines a light on the plight faced by poor families such as how to think – e.g. Scrooge was a ‘tight- e.g. The story of one cruel and harsh man being visited by ghosts Viewpoint the Cratchits, which demonises the negative attitudes towards the poor held by the rich. fisted hand at the grindstone.’ who teach him a lesson, making him kind and compassionate. Transformation – Physical transformations are evident throughout A Christmas Carol, as objects, settings, and characters appear and Used to represent deeper meanings and Symbolic Level Story – A deeper, more hidden meaning vanish under the manipulation of the ghosts. Spiritual transformations take place too, as the reader witnesses a lonely boy’s transformation Metaphor ideas. For example, the children ‘Want’ and to the story, e.g. There exists a selfish society, who needs to into an embittered old man, and the efforts made to transform his character to reconnect with those around him. ‘Ignorance’ represent the poor in society. heed this warning, in order to become more caring. Time – Time is stretched by the ghosts – the events that Scrooge experiences appear to have taken days, and yet all takes place in The Number 3 – Scrooge is visited by 3 ghosts: Past, Present, and To emphasise the atmosphere of places and the space of one night. A race against time is also taking place, as the spirits work to prevent Scrooge (and in turn, Tiny Tim) from Personification Yet to Come. This is a common feature in magical fairy stories: e.g. settings: e.g. ‘the crisp air laughed to hear it.’ experiencing their fateful demise. The reader is taught to value the time that we have, and use it to spread happiness to others. 3 wishes, 3 choices etc. This adds to the mystical feel of the novella. An Inspector Calls - Citation of Images

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Context – The play was written by William Shakespeare, and was first performed around 1606 Scene-by-Scene Summary – Take note of the key quotations from each scene. Shakespeare’s Time – Shakespeare wrote at the time of two monarchs: James I – 1606 was early in the reign of James I, who was an Act 1 Scene 1 Three witches meet on a heath. They plot to trick Fair is foul and foul is fair, Queen Elizabeth I and James I. The plays that he wrote admirer of Shakespeare’s plays, and a patron of his Macbeth at a later time. Hover through the fog and flthy air. during the period of Queen Elizabeth are generally acting company. It is doubtless, therefore, that Act 1 Scene 2 King Duncan is told of Macbeth’s bravery in battle. He No more that thane of Cawdor shall deceive… happy and joyful, reflecting the mood at the time. Shakespeare had the king in mind when writing a play tells a messenger to award him Thane of Cawdor. …And with his former title greet Macbeth. However, darker plays such Macbeth were written in the about Macbeth, a figure from Scottish ancestry. Act 1 Scene 3 The witches confront Macbeth and Banquo and deliver All hail, Macbeth! hail to thee, thane of Glamis! era of James I, which was far more unstable. For example, the gunpowder Furthermore, King James’s family claimed to have descended from a their prophecies. The messenger arrives to tell Macbeth All hail, Macbeth, hail to thee, thane of Cawdor! plot was the year before. historical figure named Banquo. that he is the Thane of Cawdor. All hail, Macbeth, thou shalt be king hereafter! The Divine Right of Kings - Divine Right asserts that monarchs were The Role of Women – Despite the strength of Elizabeth Act 1 Scene 4 At the Kings’ Palace, Duncan names Malcolm (his eldest The Prince of Cumberland! that is a step appointed from God above, and that any attempt to I’s reign, society at the time was patriarchal – women son) as his successor. On which I must fall down, or else o'erleap, question them was to question God himself. This was a were considered inferior to men. Women belonged to Act 1 Scene 5 At Macbeth’s castle, Lady Macbeth receives a letter from You spirits / That tend on mortal thoughts, unsex me here, / widely-held view at the time. King James I often their fathers (or brothers if their fathers had died) and Macbeth detailing the witches’ prophecies. She plans Duncan’s And fill me from the crown to the toe top-full / Of direst quoted divine right to cement his place on the throne. then their husbands. They were not permitted to own land or enter murder, but fears that Macbeth is too kind to fulfil his ambition. cruelty. A play involving a good, ‘God-given’ king, and the demise of a king-slayer most professions. They were instead expected to bear children, and Act 1 Scene 6 Duncan arrives at Macbeth’s castle. He professes his love for Conduct me to mine host: we love him highly, Macbeth as a dear friend. And shall continue our graces towards him. would no doubt have gone down well with King James at the time. be gentle and womanly. Lady Macbeth would therefore be at odds Act 1 Scene 7 Macbeth has doubts about the assassination. Lady Macbeth tells If it were done when ’tis done, then ’twere well with what was expected of women. him of the plot and he then agrees to it. It were done quickly . . . Witches and the Supernatural – At the time of Healthcare and Medicine – Healthcare and medicine were not as Act 2 Scene 1 Banquo and Fleance arrive. When they depart to bed, Macbeth Is this a dagger which I see before me, Shakespeare, the belief in witches and the advanced in Shakespeare’s age as they are today – there sees a vision of a dagger leading him towards Duncan’s chamber. The handle toward my hand? Come, let me clutch thee. supernatural was extremely strong, and many so- were numerous ailments and diseases that were not yet Act 2 Scene 2 Macbeth emerges from the chamber, visibly shaken. He Will all great Neptune’s ocean wash this blood called ‘witches’ were burnt at the stake. There is no understood. Furthermore, there were a many wars in has forgotten to place the daggers with the chamberlains Clean from my hand? Sleep no more, / Macbeth does murder sleep doubt, therefore, that some of the ideas in the play would have been which scores of men were killed. Therefore, death was a to absolve the blame. Lady Macbeth must return them. taken very seriously, such as the witches prophecies, Macbeth being much more frequent thought for people at the time. The high death Act 2 Scene 3 Macduff arrives and finds Duncan dead. Macbeth explains that O horror, horror, horror! Tongue nor heart seemingly ‘possessed’ and his vivid hallucinations. count in the play would therefore seem slightly more ordinary! he killed the chamberlains in rage. Duncan’s sons flee. Cannot conceive nor name thee! Act 2 Scene 4 Macduff tells Ross, a thane, that Macbeth has been named King. The sovereignty will fall upon Macbeth. Act 3 Scene 1 Macbeth, fearing the witches’ prophecies about Banquo’s It is concluded. Banquo, thy soul's flight, Main Characters – Consider what Shakespeare intended through his characterisation of each of the below… descendants sitting on the throne, arranges to have Banquo and If it find heaven, must find it out to-night. Fleance killed. Macbeth – Macbeth is the lead protagonist of the play. He is Lady Macbeth – Macbeth’s wife, an extremely ambitious Act 3 Scenes 2-3 Macbeth tells Lady Macbeth of his plan to kill Banquo. O, treachery! Fly, good Fleance, fly, fly, fly! introduced as a Scottish general who is thought to be a brave and woman who lusts for power. At the beginning of the play, she Elsewhere, the murderers kill Banquo, but Fleance escapes. Thou mayst revenge. O slave! Act 3 Scene 4 Macbeth holds a banquet. He sees the ghost of Banquo and I pray you, speak not; he grows worse and worse; strong soldier. However, he is easily persuaded to commit the seems stronger than Macbeth, urging and aiding him to kill becomes hysterical. The guests are eventually asked to leave by Question enrages him. At once, good night: murder of a king that he loves. He becomes a tyrannical and Duncan. Later in the play, however, she becomes racked with Lady Macbeth. destructive king, who responds to all threats (including his own guilt and madness, proving unable to come to terms with Act 3 Scenes 5-6 The witches are scolded by Hecate for their meddling. Elsewhere, May soon return to this our suffering country insecurities) through violence and murder. what they have done. Her conscience affects her to such a Lennox tells of Macduff gathering an army to fight Macbeth. Under a hand accursed! degree that she eventually commits suicide. First Scene: Act I Scene III Final Scene: Act V Scene VIII First Scene: Act I Scene V Final Scene: Act V Scene V Act 4 Scene 1 Macbeth again visits the witches, and through terrible beware Macduff;…none of woman born/Shall harm Duncan – Duncan is the kind and loved King of Scotland who Macbeth Macduff – A Scottish nobleman who is dubious and hostile towards apparitions is given several new prophecies regarding his Macbeth…Great Birnam wood to high Dunsinane hill Shall come against him. murders in order to fulfil his ambition and the witches prophecy. Duncan is Macbeth’s reign from the beginning. His wife and young son are fate. The witches then vanish. a virtuous King, who is both compassionate and rational – he forms a murdered by Macbeth. Macduff leads the battle against Macbeth’s Act 4 Scenes 2-3 Macduff’s wife and children are murdered by Macbeth’s assassins. Macbeth/Is ripe for shaking, and the powers above stark contrast with Macbeth as king. When Duncan dies, order in Scotland tyrannical reign, eventually becoming the man who kills Macbeth Macduff and Malcom unite in order to fight Macbeth. Put on their instruments. is shattered. It is only restored when his son, Malcolm eventually takes the (in line with the witch’s prophecy as he was not of ‘woman born.’) In Act 5 Scene 1 A doctor and gentlewoman watch Lady Macbeth sleepwalk. She Out, damned spot; out, I say. . . . Yet who would have throne. talks of the murders of Duncan and Banquo, and imagines thought the old man to have had so much blood in him? doing so, he helps Malcolm to the throne. stubborn blood on her hands. First Scene: Act I Scene II Final Scene: Act II Scene I First Scene: Act II Scene III Final Scene: Act V Scene VIII Act 5 Scene 2 Lords discuss how the rebel army will gather at Birnham Wood. Make we our march towards Birnam. The Three Witches – The witches represent trickery, manipulation Banquo – Banquo is a brave and noble gentleman who is a friend Act 5 Scenes 3-4 Inside, Macbeth boasts that none of woman born can I will not be afraid of death and bane, and the supernatural. They use charms, spells and prophecies to and fellow soldier to Macbeth. Banquo is also given prophecies by harm him. Macduff and co gather at Birnham Wood Till Birnam forest come to Dunsinane. prompt Macbeth into murdering Duncan. There is some the witches, but unlike Macbeth, he chooses not to act on them. Act 5 Scene 5 A scream is heard at Macbeth’s castle. It is announced that Lady Life is “a tale / Told by an idiot, full of sound and fury, / ambivalence over how much of their power comes from After being murdered, Banquo’s ghost returns to haunt Macbeth, Macbeth is dead (suicide). Macbeth reacts numbly. A messenger Signifying nothing” causing him a great deal of fright, and reminding him of the path he supernatural abilities, as opposed to knowing the weaknesses of reveals that the trees of Birnham Wood are advancing. chose not to take. In accordance with the witches’ prophecies, Act 5 Scenes 6-7 The battle begins. Macbeth fights without fear, as he believes no But swords I smile at, weapons laugh to scorn, their victim. In any case, they take pleasure in toying with human Banquo’s descendants later take their place on the throne. man born of woman can harm him. The castle is breached. Brandish'd by man that's of a woman born. lives and emotions. First Scene: Act I Scene I Final Scene: Act IV Scene I First Scene: Act I Scene III Final Scene: Act III Scene IV Act 5 Scene 8 Macbeth and Macduff finally meet. Macduff reveals that Tell thee, Macduff was from his mother's womb Untimely ripp'd. he was born by caesarean section (not ‘by woman born.’) He kills Macbeth. Malcolm is proclaimed King. Hail, King of Scotland!

Themes – A theme is an idea or message that runs throughout a text. Dramatic Devices in Macbeth Features of a Tragedy in Macbeth Unchecked Ambition – The tale of Macbeth ruthlessly exposes the dangers of ambition when it is not held by moral constraints. ‘t is a peerless kinsman. Tragic Hero - A main character cursed by fate and Ambition turns Macbeth from a brave and loyal Scottish general into a murderous tyrant. Lady Macbeth is another example of this Dramatic Irony Duncan trusts Macbeth. The audience knows possessed of a tragic flaw (Macbeth). theme, as she is unable to deal with the acts that she and Macbeth have committed to fuel their ambition, and so commits suicide. that Macbeth is plotting Duncan’s murder. Fate vs Free Will – Throughout the play, the audience is frequently forced to question the notion of fate vs free will – does the story pan out the This supernatural soliciting cannot be ill, way that it does because it was pre-ordained, or because of the actions that Macbeth chose to take? Macbeth fervently attempts to fight the Soliloquy cannot be good. Macbeth’s soliloquy reveals Hamartia - The fatal character flaw of the tragic hero (ambition). negative aspects of his fate, and yet it is these very actions (his free will) that cause the predetermined downfall (fate) his inner torment. Gender, Masculinity and Femininity – Lady Macbeth manipulates her husband by questioning his masculinity, as he originally The Prince of Cumberland, that is a step Catharsis - The release of the audience's emotions declines to murder King Duncan for the throne. She states that she wishes she could be ‘unsexed’ so as to give her bravery to Aside that I must fall down. Macbeth reveals his through empathy with the characters. commit the deed. Masculinity is frequently associated with raw aggression, and femininity with weakness and kindness. ambition through an aside. Inversion of the Natural Order – Wherever the natural order is disturbed in Macbeth (the three supernatural witches, the murder of a king) Away and mock the time, with fairest show/ Internal Conflict - The struggle the hero engages in with his/her disorder and chaos soon follow. There is only peace when the natural order is restored (Malcolm is seated on the throne). In line with the beliefs of Rhyming Couplets False face must hide what the heart doth fatal flaw. King James, through Macbeth Shakespeare expresses that the inversion of the natural order is dangerous and destructive. know.

The Exam Language – vocabulary, phrases, techniques and devices used by the poet.

English Literature – Paper 2 Assessment Objectives: Describing words that “Parting with his poison – Consider these questions: Flash of diabolic tail You will answer the unseen poetry question as part of AO1 - Read, understand and respond to texts Students Interesting are specific or beyond in the dark room - -Why is the technique used? English Literature, Paper 2. should be able to: ● maintain a critical style and develop an Adjectives the most obvious, he risked the rain again.” -What did the writer intend? On this paper you will also answer questions on A informed personal response ● use textual references, including creating a clear effect. -How does the reader react? Christmas Carol & Conflict Poetry. quotations, to support and illustrate interpretations “Stumbling across a field of clods This exam lasts for two hours and fifteen minutes. Doing words that are Consider these questions: - Analyse the language, form and structure used by a towards a green hedge You should spend 45 minutes on the unseen poetry AO2 specific or beyond the That dazzled with rifle fire, hearing writer to create meanings and effects, using relevant subject Interesting Verbs -Why is the technique used? question most obvious, creating a Bullets smacking the -What did the writer intend? terminology where appropriate clear effect. belly out of the air” -How does the reader react?

The question: Useful acronyms and writing frames Words or phrases that “Yellow, and black, and pale, and Consider these questions: You will answer one question that requires you to Acronyms are useful guides to help you remember what key skills appeal to any sense or hectic red, are being assessed for each question, as well as handy writing frames Pestilence-stricken multitudes: O thou, -Why is the technique used? compare two unseen poems. The poems will be linked Imagery any combination of if necessary. For the unseen poetry question you could use the Who chariotest to their dark wintry -What did the writer intend? by a theme and you will have to compare how the following acronyms as a guide: senses. bed” -How does the reader react? poets portray this theme through their use of language, form and structure. SMILE – structure, meaning, imagery, language and effect. “O my Luve is like a red, red rose Consider these questions: AO1 = 8 marks Use SMILE to help you focus your comparative points. A comparison between That’s newly sprung in June AO2 = 12 marks Similes two objects using "like” O my Luve is like the melody -Why is the technique used? Total = 20 marks PETER – point, evidence, technique, explanation and reader. or “as” That’s sweetly played in tune.” -What did the writer intend? Use PETER to help you construct your comparative paragraphs – -How does the reader react? don’t forget to use a comparative connective! A comparison between “‘Hope’ is the thing with feathers— Consider these questions: Metaphors two things in order to / That perches in the soul -Why is the technique used? give clearer meaning to And sings the tune without the -What did the writer intend? Form and Structure – the style of the poem, its rhyme, rhythm, and meter, and how it is set out on the page one of them. words/ And never stops - at all” -How does the reader react? Form – The form of a poem is its physical structure. A poem’s form Rhyme - Rhyme is the ‘correspondence of sound “With swift, slow; sweet, sour; Consider these questions: is dictated by its stanza structure, line lengths, and rhyme scheme, between words or the endings of words, especially The repetition of initial adazzle, dim; amongst other features. Here are some common forms of poetry: Alliteration -Why is the technique used? when these are used at the ends of lines of poetry.’ consonant sounds He fathers-forth whose beauty is -What did the writer intend? Poets use rhyme for a number of reasons: past change.” Sonnet – A short rhyming poem with 14 lines. Sonnets use iambic -How does the reader react? -To make a poem more musical and give it a Consider these questions: meter in each line, and use line-ending rhymes. ‘beat’ or ‘rhythm, or to show creativity and “With its leaping, and deep, cool Elegy – A poem of serious reflection, normally about the dead. murmur… sophistication in language’ -Why is the technique used? Narrative – Narrative poems tell the story of events through Assonance The repetition of vowel …White and shining in the silver- -To emphasise particular words/sounds that hold value or add sounds -What did the writer intend? poetry. There are clear narration, characters and plot. meaning to the poem/ its messages; flecked water.” -How does the reader react? Epic – A lengthy poem celebrating adventures & accomplishments. - Aid the memory for recitation purposes; Keeping time, time, time, Consider these questions: Free Verse – Free verse poems do not follow any rules. Poets organise the rhyme in their poems using Rhyme Schemes: The repeating words, In a sort of Runic rhyme, Ballad – A long poem in short stanzas – normally quatrains (4 lines) This can help to establish the form – for example, the English sonnet Repetition -Why is the technique used? - that tells a story. They often use repetition. phrases, lines, or stanzas To the tintinnabulation that so musically wells traditionally holds an ABAB-CDCD-EFEF-GG rhyme scheme. From the bells, bells, bells, bells, -What did the writer intend? Stanzas Metre/Rhythm -How does the reader react? A stanza is a grouped set of lines in a The metre of a poem is the measured pattern of rhythm created by “A child sitting under the piano, Consider these questions: poem, set apart from other lines by a stressed and unstressed syllables. Rhythm refers to the overall tempo, in the boom of the tingling strings The use of words which blank line of indentation. or pace, at which the poem unfolds. Onomatopoeia And pressing the small, -Why is the technique used? Stanzas are often used to group related Poets who write free verse often tend to ignore meter and focus imitate sound poised feet of a mother who smiles -What did the writer intend? ideas, or show content related to a instead on the content and tone of their poem. However, many as she sings.” -How does the reader react? particular time or place. poems follow a clear metre throughout. Common metres are below: “Down the close, darkening lanes they A figure of speech in Consider these questions: Poets manipulate the number, type, sang their way and length of stanzas to aid meaning. Iambic: Metre which starts with an unstressed and then a stressed syllable. which apparently Trochaic: Metre which starts with a stressed and then an unstressed syllable. Oxymoron To the siding-shed, -Why is the technique used? Names of stanzas of different lengths contradictory terms And lined the train -What did the writer intend? are shown on the right. Dactylic: Metre which starts with a stressed and then 2 unstressed syllables. Anapestic: Metre which has 2 unstressed and then a stressed syllable. appear together. with faces grimly gay.” -How does the reader react? Key Questions Regarding Structure – Line Type/Length A figure of speech which “Death, be not proud, Consider these questions: -What is the form of the poem? How do you know? Lines of poetry can end in two ways – enjambment gives animals, ideas, or though some have called thee Mighty -Why is the technique used? -Does the poem have a regular or irregular structure? Why? (the sentence runs over two lines) or end-stopped. Personification inanimate objects and dreadful, for thou art not so;” -What did the writer intend? -How many stanzas does it have? What can be read from this? Unlike prose, writers of poetry can end lines where human traits or abilities -How does the reader react? -Does the poem rhyme? What rhyme scheme does it use? What is they choose, meaning that the line type and length “The sea him lent those bitter tears Consider these questions: the effect of this? Is the rhyme regular or irregular? is often employed to support meaning. The use of Exaggerated statements Which at his eyes he always wears/ -What can be noted about the line length/ metre? long lines, containing enjambment, for example, can reflect complex Hyperbole or claims not meant to -Why is the technique used? And from the winds the sighs he bore, -What rhythm (if any) runs through the poem? Why did the poet or even confusing ideas, whilst short, end-stopped lines may be used be taken literally. -What did the writer intend? include this line length/ metre/ rhythm in the poem? for dramatic effect, or to allow the reader to dwell on ideas. Which through his surging breast do roar.” -How does the reader react?

Adding Connectives In addition also and similarly moreover furthermore as well as Contrasting Connectives but however in contrast on the other hand conversely in spite of this – Add to what has already been – Go against what has already stated. additionally indeed let alone not only too another equally been stated. actually in fact yet nevertheless nonetheless unlike alternatively

Context – A Poison Tree was written by William Blake and was published in Songs of Experience in 1794. Line-by-Line Analysis William Blake – William Blake (1757-1827) was The Garden of Eden – Also known as STANZA LINE POEM ANALYSIS an English poet and painter. He is known as being ‘Paradise’ the biblical garden of God is referred The reader immediately notes the simplicity of the one of the leading figures of the Romantic to in the books of Genesis and Ezekiel. The bible language – it mirrors the nursery rhymes and children’s verses popular at the time, and (like the poem) were Movement. Blake rejected established religious states that Adam and Eve (the first humans) were placed 1 I was angry with my friend; and political orders for their failures– some of the many into the garden (naked, showing their innocence) before intended to teach moral lessons. The lesson provided in things that he viewed as being a part of the ‘fallen human the opening quatrain is therefore seemingly simple to being tempted by a serpent to eat forbidden fruit from the 2 I told my wrath, my wrath did end. decode: do not suppress feelings of anger, or they will nature.’ He had a complex relationship with religion, Tree of Life. They were thus expelled from the garden. In A 1 grow; the best way to rid oneself of anger is to express it. believing the imagination to be the most important element Poison Tree, the tree, apple, and garden represent the 3 I was angry with my foe: The complexity arises from the use of the terms ‘friend’ of human existence. This ran contrary to Enlightenment ideas. speaker’s anger, alluding to the biblical story. and ‘foe.’ The poem seeks to explore how people classify

Songs of Innocence and Experience – Romanticism – Romanticism was an artistic, 4 I told it not, my wrath did grow. one another with these labels and alter their course of Published in 1794, these two sets of poems were literary, musical, cultural and intellectual behaviour as a result. The trochee lines (e.g. line 1) force created by Blake with the aim of showing the ‘Two movement that originated in Europe in the latter the line on, reflecting how pushy the speaker is. In contrast the iambic lines slow the poem down. Contrary States of the Human Soul.’ The Songs of half of the 18th Century, peaking in the mid-19th Innocence collection contains poems that are Century. Romanticism is characterised by its emphasis on The second quatrain describes how the speaker tends to uplifting, celebrating childhood, nature, and love in a positive emotions - glorifying nature and past events – memories and and cultivates his anger, which has made it grow. The 5 And I waterd it in fears, metaphor begins that runs throughout the poem, as the tone. The Songs of Experience section (of which A Poison Tree settings are often imaginatively described using vivid wrath is compared to a small plant. He explains how he was one of the poems) offered a contrasting tone towards imagery. Although Blake struggled to make a living during 6 Night & morning with my tears: ‘waterd’ his anger with ‘tears’ and ‘sunned’ it with ‘soft these ideas. Some of the topics covered in these poems were his lifetime, his ideas and influence were later considered deceitful wiles.’ ‘Wiles’ implies that the speaker is in indignation, revenge, and the fallen state of mankind. amongst the most important of all the Romantic Poets. 2 7 And I sunned it with smiles, some way laying a trap for his foe – he pretends to be friendly to his foe, his false smiles acting like sunshine in 8 And with soft deceitful wiles. enabling his anger to develop. The speaker thus represents the duplicity of his behaviour, and the

Language/Structural Devices innocence is gone. Line 7, in which this occurs, contains Metaphors – An extended metaphor runs throughout the Imagery – Blake uses a range of vocabulary choices to two trochees and iamb, to wrong-foot the reader. poem, which compares anger to the eponymous tree of the create vivid images in the mind of the reader. Rather than In the third quatrain, the small plant has developed title. The negative emotions begin as a seed, and are presenting anger as an abstract emotion for example, it is into an actual tree – revealing the extent to which his cultivated into a plant, then a tree (as read in the line ‘I brought to life in the form of the poison tree. The physical anger has been cultivated. Furthermore, the metaphor waterd it in fears’) is compared to cultivating a plant. The ideas of watering and sunning the plant offer a visual image is extended through the introduction of the apple. The apple represents the ‘fruits’ of his resentment. It has emotion is followed through an entire growth cycle until it of the anger growing. Other vivid images presented to the 9 And it grew both day and night. been chosen because it is commonly seen as the fruit of results in death. The second metaphor ties the poem into the reader include the ‘shine’ of the apple, the pole star being hatred and revenge in many cultures. It also refers to biblical story of Adam and Eve. In doing so, the suppression of ‘veild’ and the foe laying ‘outstretched’ at the foot of the tree. 10 Till it bore an apple bright. the apple in the biblical story of The Garden of Eden, in anger is presented as an original sin. Abstract ideas are visually depicted through Blake’s imagery. 3 which the apple is used by the serpent to tempt Eve. Quote: “And it grew both day and night. Quote: “And I waterd it in fears, 11 And my foe beheld it shine, The tree and apple promise a world of good (hence the Till it bore an apple bright. Night & morning with my tears:” shine), but actually brings woe to the world (it was 12 And he knew that it was mine. mine). In this light, the speaker could be seen as the Alliteration – Alliteration is used throughout the poem to Simple Language – Blake uses straightforward language serpent. The poem now adopts a larger meaning, as the echo the sounds of the anger developing. For example, there throughout the poem, which is easy to follow. Such simplicity biblical connection introduces the idea of God’s is a repeated ‘s’ sound throughout quatrain 2, which may be seen to represent how anger is often perceived as a indignation at humankind’s perceived failures. The resembles the sound of the speaker hissing with anger, whilst simple, instinctive emotion. On the contrary, Blake repetition of ‘And’ shows the persistent, ceaseless presenting smiles to the face of his foe. Furthermore, in demonstrates how it is complex and destructive. The simple development of the anger throughout the poem. quatrain 3, the repetition of the harsh ‘b’ sound shows the language also gives the poem a nursery rhyme feel, which the The climax of the poem is thrust upon the reader in the hidden danger of the apple, cultivated to tempt the foe. reader associates with learning a moral lesson. final quatrain. Once again the use of the word ‘and’ is used to start the quatrain. This shows the methodical, deliberate process that the speaker follows in order to Quote: “ And I sunned it with smiles, Quote: “I was angry with my friend; 13 And into my garden stole, And with soft deceitful wiles.” I told my wrath, my wrath did end. “ develop his anger. The manner in which the foe ‘stole’ into the garden shows the two-way nature of the

Form – The poem is written in four equal stanzas of four Structure – Each stanza details a different stage of the 14 When the night had veild the pole; treachery. The ‘veild pole’ gives the impression that the lines. Rhyme is used throughout in the scheme of AABB. The development of the anger. In the first stanza, the wrath is 4 visibility of the pole star, an aid to navigation, has been rhyme creates deliberate emphasis on words that underline initially hidden, In the second stanza, the anger begins to 15 In the morning glad I see; in some way impaired. The speaker’s sense of moral the tone of the poem, e.g. ‘fears’, ‘tears’, ‘smiles’ and ‘wiles.’ grow, rather like a small plant that feeds on resentment. In direction has thus been veiled. The final couplet reveals The poem is told from the viewpoint of a first person narrator stanza 3, the anger is used to deceive the foe, and in stanza 4, 16 My foe outstretched beneath the tree. the result of the speaker ’s treachery – ‘outstretched’ – we are only exposed to their point of view. the violent product of the anger is revealed. may mean dead, meaning that the foe has succumbed to the poison. The idea that the speaker is ‘glad’ about Quote: “And into my garden stole, Quote: “In the morning glad I see; this reinforces the poem’s meaning – that despite the When the night had veild the pole;” My foe outstretched beneath the tree.” damage caused, the problems of human anger remain.

Themes – A theme is an idea or message that runs throughout a text. Poems for Comparison Wider Reading Suppression of Anger – The main theme of A Poison Tree is not anger itself, but rather the destructive effects of A Poison Tree can be compared and Although it can be read by itself, "A Poison Tree" benefits significantly the cultivation of anger. The poem emphasises that when a person hides or denies their emotions, the feelings are Exposure contrasted with this poem in relation to from being read as a further expression of the poems immediately preceding it in Songs of Experience, especially "The Garden of Love" and enabled to grow. Blake expresses this through the metaphor of the poison tree, which is fed by continued resentment. the themes of futility and suffering "The Human Abstract." In the three poems, Blake criticizes the imposition of religious and social morality on the human sensibility, suggesting that it Lies and Deceit – The speaker hides his anger through ‘soft deceitful wiles’, and his cultivation of this anger A Poison Tree can be compared and stifles the goodness and love inherent in a spirit not fettered by such rules. eventually produces an apple, which is deceptively bright and shiny. This is designed to lure the foe to his demise. No Problem contrasted with this poem in the approach In Blake's Notebook, the original title of "A Poison Tree" is "Christian Forbearance," The foe is also revealed to be partaking in deceitful acts, as he ‘steals’ into the speaker’s garden. to the theme of anger and forgiveness. which the poem criticizes as the cause of hypocrisy.– www.encyclopedia.com

Context – Belfast Confetti was written by Ciaran Carson and was published in 1989. Line-by-Line Analysis Ciaran Carson – Cieran Carson (born 1948) is a The Troubles – The Troubles is the name given STANZA LINE POEM ANALYSIS Belfast-born Northern-Irish poet and novelist. He to the conflict in Northern Ireland during the 1 Suddenly as the riot squad moved in it was raining exclamation ‘Suddenly’ throws the reader was born into an Irish speaking family, and only late 20th Century. Over 3,600 people were directly into the action, just as picked up the English language from playing with killed and thousands more were injured. Two the speaker was. The local friends. His work is personal and political in its separate factions fought over the constitutional status of the 2 marks, extended metaphor utilising coverage of events from the past – particularly The Troubles country, with the goal of the unionist side to remain part of punctuation to emphasise the and violence in Northern Ireland. In 1969, Carson narrowly the UK, and the nationalist side to become part of Ireland. As 3 Nuts, bolts, nails, car-keys. A fount of broken type. And breaks in society begins with avoided death in The Troubles, when a bullet tore through a a result, the violence also spilled into Great Britain and ‘exclamation marks raining taxi that he was sitting in. His poetry has won many awards. Ireland. It was settled in the Good Friday agreement of 1998. down.’ The violent conflict is Ireland – Ireland is an island in the North The Good Friday Agreement – The Good 4 the explosion breaking down language Atlantic, separated from Great Britain by the Friday Agreement of 1998 is largely viewed as between the factions. The North Channel, the Irish Sea, and St. George’s the settlement of The Troubles, which enabled listing in line 3 conveys a sense Channel. The island is made up of the Republic of relative peace in Northern Ireland. The present 5 Itself – an asterisk on the map. This hyphenated line, a burst of panic – full sentences can Ireland (often shortened to ‘Ireland’), which devolved system of government in Northern Ireland stems 1 no longer be articulated in makes up about five-sixths of the island, and Northern from the agreement. It included a multi-party agreement 6 of rapid fire . . . the chaos. The fact that these Ireland, which is a part of the UK (see ‘The Troubles’). The Irish between Northern Ireland’s political parties and the are everyday objects climate is heavily influenced by the Atlantic Ocean, which agreement between the British and Irish governments. Both demonstrates how the borders it to the east. Ireland is the second-most populous had to be approved by the public through referendums 7 I was trying to complete a sentence in my head, but it kept ordinary has become deadly. island in Europe, with about 6.6 million inhabitants. (which they were) before they became valid. The sound of gunshots are 8 stuttering, echoed in the use of terms such as ‘rapid fire’ and

Language/Structural Devices ‘stuttering’ and are visually 9 All the alleyways and side-streets blocked with stops and depicted through the use of Metaphors – An extended metaphor runs throughout the Enjambment and Caesura – Enjambment and caesura the ellipsis. The continual poem, which compares Belfast to a sentence that has been serve to speed up slow down, link and break up different references to punctuation broken and blocked up by punctuation marks. The sections of the poem. The heavy use of enjambment and 10 colons. show the divides and punctuation marks themselves are used to represent different caesura throughout creates a sense of unease – the unsteady blockages across the city. features of the troubles. For example, exclamation marks and flow of the poem makes the reader more insecure and hyphenated marks represent weapons and debris, whilst full apprehensive, mirroring the feelings of those caught in the The term ‘labyrinth’ gives the stops and colons depict the city ‘blocked with stops and conflict. Caesura and enjambment also combine to create a impression of an inescapable colons.’ The whole poem can be seen as a metaphor for the sense of being cut off as communication systems fall. A prime 11 I know this labyrinth so well – Balaklava, Raglan, Inkerman, maze, and yet these are way that violent conflict destroys language. example of this is in lines 13 and 14. streets that the speaker Quote: “Suddenly as the riot squad moved in it was raining Quote: “Why can’t I escape? Every move is punctuated. 12 Odessa Street – knows well – showing how exclamation/ marks,” Crimea Street/ Dead end again.” the conflict has inverted normality. The speaker’s own Questions – The sense of chaos and confusion is emphasised Everyday Objects – Carson reveals how, in this 13 Why can’t I escape? Every move is punctuated. Crimea Street. hesitation is implied in the through the use of interspersed questions throughout. The environment, everyday objects are turned into dangerous questions that they ask speaker is seen to be constantly questioning what is going on, weapons. For example, in the first stanza, Carson details how themselves, as well the fact for example ‘why can’t I escape?’ ‘Where am I coming from?’ ‘nuts’, ‘bolts’, and ‘car keys’ are used in bombs. The title itself 14 Dead end again. that their moves are Many of these questions are appear to be echoes of questions mirrors this idea; ‘Confetti’ is ordinarily used for celebration, ‘punctuated.’ ‘Dead end’ is being asked of the speaker by others – e.g. ‘My name?’ and but here it is used to describe the shrapnel originating from 2 15 A Saracen, Kremlin-2 mesh. Makrolon fae-shield. Walkie- deliberately ambiguous – ‘Where am I going?’ – which adds to the sense of mistrust. bombs, which rains down on the city. further reinforcing the Quote: “My name? Where am I coming from? Where am I Quote: “Nuts, bolts, nails, car-keys. A fount of broken type. undercurrent of division and going? A fusillade of question-marks.” And/ the explosion” 16 talkies. What is violence. Upon being Form – The poem is written in two stanzas, perhaps to Structure – The poem opens as the chaos commences, as questioned by the soldiers, represent how Belfast/ Northern Ireland has become divided signalled by the opening adverbial ‘Suddenly.’ What follows is 17 My name? Where am I coming from? Where am I going? the speaker now fails to between the two factions. The varying line lengths, alongside a rapid deterioration of any sort of order. In stanza 1, the answer the simplest of the lack of rhyme or consistent rhythm, reflect the chaos of speaker is just about able to offer details regarding the riot, questions (line 17) showing the riots. The different line lengths also mirror how different but by the end of stanza 2, their sense of clarity has reduced 18 A fusillade of question-marks. how disorientated they have streets have been cut off by the factions and riot squads. to such an extent that they question themselves. become. The poem does not Quote: “All the alleyways and side-streets blocked with Quote: “I was trying to complete a sentence in my head, end definitively, but rather stops and/ colons.” but it kept/ stuttering,” with unanswered questions.

Themes – A theme is an idea or message that runs throughout a text. Poems for Comparison Wider Reading Disorder – A number of devices combine to make the city appear fragmented and confusing. Everyday objects are Belfast Confetti can be compared and "I write in English, but the ghost of Irish hovers behind it; and What Were utilised as weapons, those who should be neighbours are fighting one another, and at every turn there are blockages contrasted with this poem in relation to English itself is full of ghostly presences," he suggests two They Like? the themes of disorder influences on his poetry: his bilingual upbringing, and an and chaos. Carson takes the reader to a place in which all rules regarding order and structure have perished. unusual alertness to language. He shows language being used Divided Society – Carson presents a place in which factions have developed in society – representative of the The Class Belfast Confetti can be compared and to enforce, to spy, and - broken into its almost Troubles in Northern Ireland. The divisions are shown through the structure of the poem (e.g. the two stanzas, the Game/ No contrasted with these poems in the meaningless constituent parts - to commit physical violence, when the bomb in 'Belfast Confetti' is loaded with not only approach to the theme divided society. differing line lengths) and also its content (e.g. the barricades and blockages at every turn, cutting streets off). Problem ironmongery but "a fount of broken type.".– www.essalanglit.com

Context – Catrin was written by Gillian Clarke and was first published in 1978. Line-by-Line Analysis Gillian Clarke – Gillian Clarke (born 1937) is a Realism – Realism in literature is a part of STANZA LINE POEM ANALYSIS Welsh poet, who was awarded the Queen’s Gold the realist art movement (seen in all forms of 1 I can remember you, child, Lines 1-5: In line 1, the speaker immediately mentions Medal for poetry in 2010. She graduated in English art and literature) that began in the mid- memory, a key feature of parenthood – reflecting their love at Cardiff University, before spending a year twentieth century. Realism attempts to 2 As I stood in a hot, white for their child. The parent can remember events that the working for the BBC in London. She then returned represent familiar things as they are. Authors of realist texts child can’t. ‘You, child’ highlights the mother-daughter relationship. The speaker then begins to discuss childbirth – to Cardiff, giving birth to her daughter (Catrin: hence this choose to describe everyday or banal activities, as opposed to 3 Room at the window watching ‘hot’ and ‘white’ are oxymoronic – suggesting passion but poem) and two sons. She learnt to speak Welsh as an adult romanticising or colourfully elaborating ideas. Realistic poems 4 The people and cars taking also neutrality and sterility. The fact she is stood and often translates Welsh literature into English. She was the often describe subjects from contemporary, conventional life, demonstrates her preparedness for the struggles ahead. The National Poet of Wales between 2008 and 2016. She often focusing more on the individual characters and their 5 Turn at the traffic lights. mundane image outside (emphasised by alliterative w’s continues to live and work in Wales. feelings than on dramatic or sensational events. and t’s) contrasts with events about to take place. Clarke’s Welsh Background – Clarke was Parental Bond – A parental bond is the bond 6 I can remember you, our first Lines 6-11: The fricative use of ‘f’ in lines 6/7 suggests born into an English speaking family in Wales, between a parent and child, often referred to as 7 Fierce confrontation, the tight expletives between the two – their explosive relationship and only learnt to speak Welsh as an adult either the maternal bond (mother/child) or the revealed. Childbirth is seen as their first conflict: a precursor ‘partially as a form of rebellion.’ She is proud paternal bond (father/child) Research suggests 8 Red rope of love which we both to future battles. The ‘red rope’ describes literally the of her Welsh heritage and makes efforts to ensure that the that both bonds have a biological basis, with changes taking umbilical cord, but metaphorically the bond of passion and 9 Fought over. It was a square love between them. It becomes a metaphor for the dual Welsh language is shared worldwide – translating Welsh texts place in the brains and hormones of mothers and fathers 1 forces at play as the child grows up, as they both struggle into English. She often weaves characteristics of Welsh- before and after the birth of their child. Further studies have 10 Environmental blank, disinfected against one another. The ‘square environmental blank, language poetry into her work, e.g. strict metres. She also shown that children who grow up to happy and stable often disinfected’ describes the hospital ward, but also the feeling contrasts rural life in Wales with notable international events. develop strong bonds as infants with their parents. 11 Of paintings or toys. I wrote of being ‘boxed-in’ by responsibility. Lines 12-17: The writing on the walls demonstrates how the 12 All over the walls with my mother discovers for herself how to meet the physical and emotional needs of her baby. Literally, it could represent 13 Words, coloured the clean squares Language/Structural Devices decorating a child’s room with paint and belongings. Wild, Metaphors – An extended metaphor runs throughout the Enjambment and Caesura – Enjambment and caesura 14 With the wild, tender circles tender circles is another oxymoron, depicting the constant poem, which compares the bond between mother and serve to speed up slow down, link and break up different cycle of love, adventurousness, and protectiveness. At times, 15 Of our struggle to become they both struggle to break free of the maternal bond, the daughter to red rope. This red rope may literally symbolise sections of the poem. The heavy use of enjambment and daughter to find herself as an individual, and the mother to the umbilical cord throughout the earliest stages of their caesura throughout creates a sense of unease – the unsteady 16 Separate. We want, we shouted, break free of responsibility. The alliteration of the ‘w’ relationship, but comes to represent the link that ties mother flow of the poem makes the reader more insecure and demonstrates the repetitive, enduring nature of their and daughter together. Another metaphor exists in the idea apprehensive, mirroring the nature of the mother/daughter 17 To be two, to be ourselves. struggles. The last two lines bring about a climax to their of the square/tank which their relationship inhabits. It is relationship. Caesura and enjambment also combine to struggles – shouting and longing to be individuals. ‘blank’ and ‘disinfected’ at the start, but becomes ‘clouded create a sense of being cut off – as the two long for isolation Lines 18-24: The speaker uses almost nursery-rhyme with feelings’ as their emotions towards each other build. from one another – a sense of individual identity. 18 Neither won nor lost the struggle rhythm to express the equal forces of their binary opposition Quote: “ Red rope of love which we both Quote: “Which changed us both. Still I am fighting to one another. The once ‘disinfected blank square’ is now Fought over” You off, as you stand there” 19 In the glass tank clouded with feelings ‘clouded’ with complex feelings that they hold – confused about their emotions. ‘Changed us both’ implies neither is Alliteration – Alliteration is used frequently throughout the Oxymoron – Contradictory ideas are juxtaposed beside one 20 Which changed us both. Still I am fighting the same because of their relationship. ‘Still’ brings the poem, for a range of effects. At the beginning of the first another in order to show the differing personalities of the conflict into more recent times, through both childhood and stanza, for example, the repetition of ‘w’ and ‘t’ sounds in mother and daughter, who are still tied together by the 21 You off, as you stand there adolescence. The description of the daughter’s hair lines 3 and 5 creates a sense of repetition and monotony at maternal bond. ‘Hot’ and ‘white’ in stanza 1 shows the highlights how she has grown into a strong adult. Her ‘rosy, the dull scene outside. On the other hand, the repetition of ‘f’ conflicted nature of their relationship, which is new, neutral 22 With your straight, strong, long defiant glare’ is suggestive of the passion that lies beneath. The elongated vowels in this section emphasise the enduring at the beginning of stanza 2 echoes the expletives that the and sterile, and yet already tainted by love and passion. 23 Brown hair and your rosy, two use towards each other as they partake in full-blown ‘Wild, tender circles’ is another example, showing the nature of their struggles, but also the assertiveness and arguments, throughout Catrin’s adolescence. inclination of the individuals towards adventure and safety. 2 24 Defiant glare, bringing up strength of the force that her daughter has developed into. Quote: “In the glass tank clouded with feelings Quote: “With the wild, tender circles Lines 25-29: In the second climax, the speaker declares her Which changed us both. Still I am fighting” Of our struggle to become” 25 From the heart’s pool that old rope, love for her daughter, beginning with the idea of the Form – The poem is written in two stanzas, which deal with Structure – The first stanza is written about the time of 26 Tightening about my life, ‘heart’s pool’ – the memories between them lay deep in her separate stages of life, but with the same themes – perhaps Catrin’s birth, and deals with the early relationship between heart, as does the bond that cannot be broken. ‘Tightening 27 Trailing love and conflict, about my life’ suggests that the relationship has dominated representing their will to be independent despite the bond the two. In the climax, it is recalled how this is difficult, as they her life ever since her daughter’s birth. Line 27 juxtaposes that keeps them together. There is little rhyme in the poem, fought to be separate beings. The second stanza shows Catrin 28 As you ask may you skate the contradictory ideas of love and conflict, reflecting the and a frequently interrupted rhythm, which goes to show the as an adolescent, fighting to be adventurous and struggling nature of their relationship, a battle which is never lost or conflicted and unsteady nature of their relationship. for independence. The climax reveals more struggles to come. 29 In the dark, for one more hour. won. The final two lines exemplify the daughter’s continued Quote: “Neither won nor lost the struggle Quote: “As you ask may you skate longing for adventurousness, even into the ‘darkness’ of the In the glass tank clouded with feelings” In the dark, for one more hour.” future, countered by her mother’s perception of danger.

Themes – A theme is an idea or message that runs throughout a text. Poems for Comparison Wider Reading Maternal Love – The poem explores the persisting strength and durability of the maternal love, in the face of Catrin can be compared and contrasted “People are sweet, they come to a poetry reading and say, ‘I really enjoyed that and I haven’t read a poem since I was a child, but when I ceaseless conflict. This conflict seems to be unavoidable, and has a notable effect on both the parent and the Poppies with this poem in relation to the theme of was a child I loved poetry’, and I think, of course you did, we must stay offspring. In any case, they remain attached by the ‘red rope’ of their bond, creating a deeper love than any other. maternal love. as children. We loved nursery rhymes, and we still love those things. I Togetherness and Individuality - From the gruelling first obstacle together of childbirth, both Catrin and her Catrin can be compared and contrasted just hope that person who comes up to me and says that will come again. “There are such wonderful poets from the 19th century. I studied them at mother are locked together by an eternal bond. Whilst this brings them deep togetherness, they also struggle to No Problem with these poems in the approach to the university and they are the great romantic poets – Wordsworths, Shelleys, Keats, establish themselves as individuals. Catrin longs to seek adventure, whilst the speaker tires of the responsibility. theme togetherness and individuality they’re fantastic, but that’s then, we must write for now” www.essalanglit.com

Context – Cousin Kate was written by Christina Rossetti in 1859, and was first published in 1862. Line-by-Line Analysis Christina Rossetti – Christina Rossetti (1830- The Class System – Although the class STANZA LINE POEM ANALYSIS 1894) was an English poet who mainly wrote system was less fixed than in earlier history, The poem is set out as a dramatic monologue, addressed 1 I was a cottage maiden romantic and children’s poems. She was born into class divisions still separated different people directly to the eponymous Cousin Kate, referred to as ‘you’ 2 Hardened by sun and air, a gifted family – the youngest child of the in society from one another. Society was throughout the poem. The opening lines present a rural 3 Contented with my cottage mates, renowned Italian-exile poet Gabriele Rossetti and made up of aristocrats and noble families, middle classes, and setting, generating an image of the speaker that is innocent 4 Not mindful I was fair. and pure. ‘Cottage mates’ suggests a low status, perhaps Frances Polidori, the sister of Lord Byron’s best friend: John working classes, and social mobility was difficult. For example, 1 5 Why did a great lord find me out, working the fields. Line 4 implies that she was not aware of Polidori. In her lifetime, opinion was divided over whether she it was integral for both the man and the woman to marry 6 And praise my flaxen hair? her own beauty – she questions why the lord would choose or Elizabeth Barrett Browning was the best female poet of all someone of a suitable class and reputation. It would bring 7 Why did a great lord find me out her over the other girls. Repetition of the same line (5 and time. Rossetti’s poetry is famed for having an exceptional shame on a family for someone to marry too much out of lust 8 To fill my heart with care? 7) shows her confusion. ‘Flaxen’ means blonde; the reader is lyrical quality, diction and tone, using simple forms. and below the family class/reputation. given an image of a pretty country girl. The Victorian Era – The Victorian era describes Love and Courtship Rules – Although some laws The verb ‘lured’ portrays the lord as some kind of predator, the period in which Queen Victoria sat on the had changed since the Georgian/ Regency eras, 9 He lured me to his palace home— who traps her. His palatial home is juxtaposed with her English throne – between 1837 and 1901 (most of much of the power in love and courtship remained 10 Woe's me for joy thereof— humble cottage dwelling, to highlight his status. The Rossetti’s life). Whilst this was a time of industrial with men. Men were largely free to act as they 11 To lead a shameless shameful life, oxymoron in line 11 demonstrates her confusion at the time: revolution, it was also an extremely harsh time to liked outside of marriage, whilst women were expected to 2 12 His plaything and his love. bedazzled by him and so blind to the social dangers. live, and the differences between the lives of the richest and exhibit chaste behaviour. Women with children who were 13 He wore me like a silken knot, ‘Plaything’ suggests he never wanted her for marriage – his 14 He changed me like a glove; ‘love’ is in face lust. The metaphors and similes with clothes the poorest were exacerbated. The Victorian era was a period unmarried were regarded as ‘fallen.’ It is interesting to note in suggests that she is nothing more than accessory to him; of great change. In this time, the population of England that Rossetti volunteered for a charity for fallen women from 15 So now I moan, an unclean thing, 16 Who might have been a dove. something that he can use and discard. Doves mate for life doubled – from 16.8 million 1851 to over 30 million in 1901. 1859, which likely influenced the subject matter of the poem. – she explains how she could have been this to him. At this point, she addresses Kate directly for the first time. 17 O Lady Kate, my cousin Kate, The fact that she is ‘Lady’ tells the reader that the Lord has 18 You grew more fair than I: married her. The speaker admits that Kate is more fair than

Language/Structural Devices 19 He saw you at your father's gate, her, and the idea that she ‘grew’ this way reveals that she is Similes and Metaphors – A number of similes and Repetition and Contrast – Repeated phrases are used to 3 20 Chose you, and cast me by. perhaps younger – the speaker has been cast aside for a metaphors run throughout the poem, figuratively highlight the differences between the speaker and Cousin 21 He watched your steps along the lane, newer, younger girl. The speaker seems to know the exact 22 Your work among the rye; moment he fell for Kate – suggestive of her jealousy and representing the complex behaviours and emotions at play. Kate. For example, ‘good and pure’ is repeated to describe pain. The latter part of the stanza shows the power of the For example, in stanza 2, the speaker compares herself to Kate in stanza 4, juxtaposed with the idea of the speaker 23 He lifted you from mean estate 24 To sit with him on high. man – he can select his woman at whim, who is elevated to different clothing garments when in the presence of the lord being an ‘outcast.’ Whilst Kate is able to ‘sit in gold’, the his level. The women are passive: no choice in the matter. (like a silken knot, like a glove), showing that he viewed her speaker is forced to ‘sit in dust.’ However, whilst the speaker 25 Because you were so good and pure The opening four lines may be the lord’s and neighbours’ merely as a garment – an accessory that could be changed at professes that her ‘love was true’, she believes that Kate’s was 26 He bound you with his ring: perception of Kate, and not the reality. In any case, the his pleasure. The speaker also uses the ring to jealously ‘writ’ in sand. The differences between the two are more 27 The neighbors call you good and pure, views of those around seem to have influenced him. The symbolise the lord’s entrapment of Kate, in stanza 4. emphasised through the use of the repetition. 28 Call me an outcast thing. speaker herself is instead perceived as an ‘outcast thing.’ ‘Howl’ suggests her pain, whilst ‘dust’ shows that she remains Quote: “ Because you were so good and pure Quote: “O cousin Kate, my love was true, 4 29 Even so I sit and howl in dust, He bound you with his ring:” Your love was writ in sand:” in the country, work setting. This is contrasted with Kate’s 30 You sit in gold and sing: ‘gold’ and ‘sing.’ A further contrast is used to describe the Alliteration – Alliteration is used frequently throughout the Oxymoron – Contradictory ideas are juxtaposed beside one 31 Now which of us has tenderer heart? speaker’s ‘tender heart’ against Kate’s ‘stronger wing’ poem, for a range of effects. In stanza 1 for example, the another in order to mirror the conflicting nature of the 32 You had the stronger wing. implying she was pushed aside by Kate. repetition of the soft ‘m’ sound (maiden, mates, mindful) is speaker’s ideas: she wants to create the sense that she is 33 O cousin Kate, my love was true, The speaker goes on to question the validity of Kate’s used to reflect the beauty and innocence of the girls at work. happy, and better off without the lord, when in fact we infer 34 Your love was writ in sand: feelings. Sand can be washed away, and so the metaphor in In detailing the affair in stanza 2, the sibilance in ‘shameless, that she is deeply jealous. For example, she refers to her son as 35 If he had fooled not me but you, line 34 insinuates that her love is fleeting and not deep, as shameful’ echoes the hushed manner of the affair. ‘my shame, my pride’, demonstrating that whilst she appears 36 If you stood where I stand, the speaker says hers is. In the next lines, the jealousy of the Furthermore, the speaker’s anger comes through the harsh to be proud of him on the surface, she in fact knows the 5 narrator can be inferred – she states that she would not 37 He'd not have won me with his love have ‘won’ in the same way, but with the alternative being consonants in ‘O Lady Kate, my cousin Kate.’ ignominy that his existence brings upon her. 38 Nor bought me with his land; social ruin, it is unlikely she would have rejected him. She Quote: “To lead a shameless shameful life, Quote: “My fair-haired son, my shame, my pride, 39 I would have spit into his face claims moral superiority by suggesting Kate was ‘bought.’ His plaything and his love.” Cling closer, closer yet:” 40 And not have taken his hand. The tone of line 39 shows her disrespect for the lord now. Form – The poem is written as a dramatic monologue, from Structure – The narrative is revealed almost chronologically. 41 Yet I've a gift you have not got, In the final stanza, the speaker reveals her revenge: she has the viewpoint of the rejected former lover of the lord. She In the opening stanza, the speaker recalls the lord picking her 42 And seem not like to get: a son with the lord, which Kate does not. She juxtaposes the directs the poem directly to Cousin Kate. There are six out, whilst the second details their relationship. The third 43 For all your clothes and wedding-ring son with the material things that Kate owns, in an attempt stanzas, each of which rhyme A-B-C-B-D-E-D-F. It is written stanza is the point at which the lord first sees Kate, and in the 44 I've little doubt you fret. to demonstrate that they are relatively worthless. The in 3 and 4 foot iambic trimeters and tetrameters, which gives fourth he weds her. In the fifth and sixth stanzas, the speaker 6 oxymoron used in 45 (‘shame’ and ‘pride’) gives the 45 My fair-haired son, my shame, my pride, impression that she is able to rise above social perceptions in the poem a pronounced rhythm. reveals her feelings, and hers and Kate’s differing lives now. 46 Cling closer, closer yet: her view of her son – but this is not entirely believable; she Quote: “If you stood where I stand… Quote: “Yet I've a gift you have not got, 47 Your father would give lands for one refers a few times throughout the poem to the views of Nor bought me with his land;” And seem not like to get:” 48 To wear his coronet. society, suggesting that she is affected by them.

Themes – A theme is an idea or message that runs throughout a text. Poems for Comparison Wider Reading Class – The Victorian class system, and its effects on love and marriage, is evident through the behaviour and Cousin Kate can be compared and “In early 1859 Rossetti began volunteering at the St. Mary The Class attitudes of the characters in the poem. The lord, being from an esteemed class, is able to pick and choose contrasted with this poem in relation to Magdalene Penitentiary in Highgate, a charitable institution for Game the reclamation of “fallen” women. As an “associate” at Highgate, whichever of the working women he wants (this is partially a result of gender attitudes as well). the theme of class. Rossetti was known as “Sister Christina” and wore a habitlike black Alienation – The pain felt by the speaker at being shunned in favour of Cousin Kate is compounded by the fact Cousin Kate can be compared and uniform with a veil. By the summer of 1859 Rossetti was devoting a good deal of time to her work at Highgate, and its influence can be seen in her that she is outcast by society for indulging in a pre-marital relationship. Despite being no more guilty than the lord, No Problem contrasted with this poem in the approach poems about illicit love, betrayal, and illegitimacy, such as “Cousin Kate,” his position as a man allows him to carry on his life as he likes, whilst she is forever tainted as a ‘fallen’ woman. to the theme of alienation. www.poetryfoundation.org/poets/christina-rossetti

Context – Exposure was written by Wilfred Owen in 1917. Line-by-Line Analysis - Remember that this is an extract from the poem, not the whole poem. Wilfred Owen – Wilfred Edward Salter Owen World War I – World War I, also known as the STANZA LINE POEM ANALYSIS (1893-1918) was a British poet and soldier. He was ‘Great War’, was a global war originating in 1 Our brains ache, in the merciless iced east winds that knive us . . . The reader is delivered to the bleak French one of the predominant World War I poets, landscape, and the use of personification Europe that took place from July 1914 to 2 Wearied we keep awake because the night is silent . . . (winds…knive’) brings the conditions to life. detailing the horrors of trench warfare in a similar November 1918. It involved all of the world’s 3 Low drooping flares confuse our memory of the salient . . . This is a hostile environment; even nature is style to his mentor: Sigfried Sassoon. His poetry brought a major powers, opposing the Allies (including Russia, France, 1 against them. Alliteration w/s sounds mimic 4 Worried by silence, sentries whisper, curious, nervous, whispers. ‘We’ is used to demonstrate that sense of realism to public perceptions of war, in stark contrast UK, and USA) against the Alliance (Germany, Austro- the narrator is among the soldiers. The to the earlier works of poets such as Rupert Brooke at the Hungary, the Ottoman Empire) Over 9 millions armed forces 5 But nothing happens. soldiers fear the silence. time. Owen was killed one week before the end of the war. and 7 million civilians were killed in the war. Pathetic fallacy is used to attribute anger to 6 Watching, we hear the mad gusts tugging on the wire, the wind – again making the place seem Trench Warfare – The use of trench warfare Exposure to the Weather – The majority of 7 Like twitching agonies of men among its brambles. inhospitable. The simile used over the top significantly influenced the high death toll. the fighting took place in Europe, where the two lines creates connotations of pain. Even 2 8 Northward, incessantly, the flickering gunnery rumbles, though the action of the war is in the Attacks involved going across No Man’s Land soldiers faced extremities in temperature and 9 Far off, like a dull rumour of some other war. distance, it is still at the forefront of their (in the middle) where attackers were open to machine gun weather over the years. Rain would quickly accumulate in What are we doing here? minds. The soldiers question what they are fire, mines, and shells. Even if successful, casualties were huge. the trenches (sometimes to waist height) whilst in the winter 10 doing– the reason for fighting is long lost. Dawn is typically associated with freshness, Life in the trenches were awful, with diseases like trench foot months soldiers would often be battered by snow, hail, and 11 The poignant misery of dawn begins to grow . . . happiness, but here it brings ‘poignant rife. Men would often spend weeks at a time on the front line, sub-zero temperatures. The winter of 1916-17 was so cold that 12 We only know war lasts, rain soaks, and clouds sag stormy. misery:’ they are trapped in an endless cycle where they would need to sleep, eat, and defecate in close many lost fingers and toes to frostbite. Trenches offered little 3 13 Dawn massing in the east her melancholy army of war. Dawn itself is then personified as an proximity in the trenches. to no protection. Even clothes and blankets froze solid. enemy, and a metaphor is used to describe 14 Attacks once more in ranks on shivering ranks of grey, an attack by a ‘melancholy army.’ The repeated last line shows the anxiety of 15 But nothing happens. waiting for death – ‘nothing happens.’ 16 Sudden successive flights of bullets streak the silence. Sibilance (repeating ‘s’ sound) is used at the Language/Structural Devices Less deadly than the air that shudders black with snow, beginning of the stanza to add emphasis to 17 the sounds being described. More

Personification/Pathetic Fallacy – Owen persistently Sibilance/Alliteration/Assonance – These language 4 18 With sidelong flowing flakes that flock, pause, and renew, personification is used – even the snowflakes personifies the weather to create the impression that the techniques are used to echo/mimic the sounds (or in some We watch them wandering up and down the wind's seem to be conscious in deciding who to 19 attack/ where they will fall. The wind is weather is as much of danger to the soldiers as the enemy cases silence) that the men are exposed to. For example, nonchalance, personified in its apathy in the face of the itself. The weather is constantly referred to as an enemy, for repetitive use of the ‘w’ and ‘s’ sounds are representative of 20 But nothing happens. untold suffering and hardship. example through suggesting it ‘knives’ the men, gathers a the whistling of the wind around them, and even the muffled The icy flakes are compared to assassins that ‘melancholy army’ against them, and uses ‘stealth’ to attack whispering of the men. Furthermore, awkward ‘o’ sounds 21 Pale flakes with fingering stealth come feeling for our faces— stalk out the soldiers. Varied verb in them. The use of pathetic fallacy (e.g. the ‘mad gusts’) even emphasise words, and represents the difficulty the men have 22 We cringe in holes, back on forgotten dreams, and stare, snow-dazed, ‘cringed’ creates a vivid image of the soldiers weakly cowering from the weather. The add emotions and malice to the forces of nature. in taking their minds off the cold misery that they face. 5 23 Deep into grassier ditches. So we drowse, sun-dozed, juxtaposition of the ‘blossoms’ and ‘sun- Littered with blossoms trickling where the blackbird fusses. dozed’ dream enhances the extremity of the 24 Quote: “Our brains ache, in the merciless iced east winds that Quote: “Slowly our ghosts drag home: glimpsing the sunk —Is it that we are dying? misery of the lines before The last line knive us” fires, glozed” 25 answers the question at the end of stanza 2. Similes/Metaphors – Similes and metaphors are used to Varied Verbs – Owen uses some interesting and original Assonance of the awkward ‘o’ sound 26 Slowly our ghosts drag home: glimpsing the sunk fires, glozed opening the stanza is representative of the figuratively describe the physical and psychological pain that verbs to present the discomfort of movement and actions by 27 With crusted dark-red jewels; crickets jingle there; effort that it takes to think of anywhere but the men are enduring. For example, the dawn of a new day the exposed soldiers. For example, the frost makes their hands 6 28 For hours the innocent mice rejoice: the house is theirs; their ghastly present environment. Use of is compared to a ‘melancholy army’ being amassed – a new ‘shrivel’ and their foreheads ‘pucker’, whilst they are ‘shaking.’ the word ‘ghost’ creates the sense that these 29 Shutters and doors, all closed: on us the doors are closed,— men are already dead – effective when day signals a repeat of the cycle of misery and despair. These are young men in their prime and yet the description of considering later in the stanza: the men their actions makes them resemble the old and infirm. 30 We turn back to our dying. have been forgotten already. Quote: “We cringe in holes, back on forgotten dreams, and 31 The speaker questions the existence of Quote: "Dawn massing in the east her melancholy army.” Since we believe not otherwise can kind fires burn; warming stimuli, as it has been so long since stare, snow-dazed” 32 Now ever suns smile true on child, or field, or fruit. they have experienced such comforts. The Form/Structure – The poem is conventional in the sense Versification – Each of the eight stanzas ends with a short 7 33 For God's invincible spring our love is made afraid; spring that will follow the current winter that each stanza is five lines long, with eight stanzas in total. half line. At the end of the first, third, fourth, and eighth lines makes them feel afraid, as they fear that 34 Therefore, not loath, we lie out here; therefore were born, they will not be alive to see it. Due to the Half-rhyme is used throughout to create a A-B-B-A-C rhyme the refrain ‘but nothing happens’ is added. This hammers For love of God seems dying. agony of their predicament, God’s love of scheme. The fifth line adds a little more to what would home the message that despite all of the pain and suffering 35 the men is itself questioned. The last stanza is perhaps the most normally be expected – this could be seen as representative being described, little changes. The last lines, when read alone 36 Tonight, this frost will fasten on this mud and us, haunting. The effects of frost are described of the war dragging on for longer than anyone thought. one after the other, tell their own melancholy story. 37 Shrivelling many hands, and puckering foreheads crisp. using varied verbs and adjectives (shriveling, crisp). The soldiers (half frozen themselves) Quote: “Shrivelling many hands, and puckering foreheads 8 38 The burying-party, picks and shovels in shaking grasp, Quote: “What are we doing here? Is it that we are dying?” attempt to bury those killed from exposure. crisp/The burying-party, picks and shovels in shaking grasp.” 39 Pause over half-known faces. All their eyes are ice, Metaphor – eyes are physically frozen/ numb to the horror of what they are doing. 40 But nothing happens. Last line shows nothing is being achieved.

. Themes – A theme is an idea or message that runs throughout a text Poems for Comparison Thoughts of the Poet

Suffering – In order to get across his message across, it was essential that Owen presented the barbaric, appalling Dear Mother, Immediately after I sent my last letter, more than a fortnight ago, we were Exposure can be contrasted with this poem nature of war in a realistic manner and tone. In this poem, Owen portrays the quieter moments of war, the painful rushed up into the Line. Our A Company led the Attack, and of Remains in relation to the theme of Suffering and course lost a certain number of men. I had some extraordinary periods in between the battle and bloodshed. Here, physical pain and psychological trauma can both be taken in the Horrors of War. escapes from shells & bullets…I think the worst incident was one wet more fully, and are described vividly and frankly. night when we lay up against a railwav embankment. A big shell lit on the top of the bank, just 2 yards from my head. Before I Exposure can be compared with this poem awoke, I was blown in the air right away from the bank! My The Futility of War – In contrast to many poems at the time that glorified war and fighting for one’s country, brother officer of B Coy., 2/Lt. Gaukroger lay opposite in a similar Charge of the in relation to the theme of suffering and hole. But he was covered with earth, and no relief will ever relieve Owen’s poems typically depict war in a harsh light, in order to demonstrate how horrific and futile it is. ‘Exposure’, in Light Brigade can be contrasted with this poem in their him, nor will his Rest be a 9 days' Rest. I think that the terribly long this sense, is no different. His bleak and shockingly realistic portrayal of the soldier’s experiences (in this case caused approach to the futility of war. time we stayed unrelieved was unavoidable; yet it makes us feel bitterly towards those in by both the opposition and the forces of nature) forms a stark contrast to general public opinions at the time. England who might relieve us, and will not. WEO

Context – Half Caste was written by John Agard, and was published in 2005. Line-by-Line Analysis John Agard – John Agard (born 1949) is an Racism in the UK – The United Kingdom is a POEM (OPENING) ANALYSIS POEM (ENDING) ANALYSIS Afro-Guyanese poet and playwright who now multi-cultural society, largely owing to its Lines 1-3: The speaker begins Lines 33-41: The stanza lives in the UK. When he moved to the UK in the imperialist past, and more recent waves of his satirical attack on those break adds extra emphasis 1970s, he began teaching people about immigration. Racism is also fueled by attitudes Excuse me that label him ‘half-caste’ by to the refrain, which once again use the imperative Caribbean culture and worked in a library. He linked to the entrenched historical class system. The UK has Standing on one leg suggesting that he is half a often conveys his Caribbean voice in his poems, using non- never implemented any laws that officially discriminate person. By standing on one verb ‘explain’ to show the standard spelling to represent his accent. His poems are often against or segregate people of minorities – however, it is only I'm half-caste leg, he is using only half of his challenging, assertive nature of the speaker. The next part rebellious in nature, challenging common ways of thinking as recently as the 1960s that the first laws were introduced to body, suggesting that he is only half of a man. of the poem labels several and confronting discriminatory behaviour. actively oppose racist attitudes and behaviour body parts as ‘half’ on the Explain yuself Explain yuself Guyana – Guyana is a country on the The Term ‘Half-Caste’ – Half-caste is a term Lines 4-10: The speaker is half-caste man. When northern mainland of South America. However, used to describe people of mixed race or Wha yu mean assertive in lines 3-6, using Wha yu mean people ask him why he only it is often considered as a Caribbean region ethnicity. In a number of countries across the the personal pronoun ‘yu’ gives them part of his because of its strong cultural and historical links world, including Australia and New Zealand, it is When yu say half-caste (authenticating his dialect) Ah listening to yu wid de keen attention, it is actually because of their use of the to Anglo Caribbean nations. It was governed by Britain from seen as a deeply offensive term, whilst in countries like the Yu mean when picasso to challenge the reader Half of mih ear the late 18th Century and known as British Guiana until the UK, it is seen increasingly as an offensive term, due to the fact directly. Agard begins to derogatory term towards Mix red an green show how two colours mixed Ah looking at u wid de keen him. He doesn’t want to give 1950s. It gained independence in 1966. Many Guyanese that it implies that someone is ‘half-pure’ (with the white half together can create them his ‘full’ recognition. families have since emigrated to the UK – in 2009 there were being the ‘pure’ half). The National Union of Journalists have Is a half-caste canvas? something beautiful – such Half of mih eye ‘Yu’ and ‘u’ again involve the 24,000 Guyanese-born people living in the UK. stated that the term is considered offensive today. as a Picasso painting. The reader directly. Explain yuself And when I'm introduced to yu rhetorical question forces the Lines 42-45: The idea of the Wha u mean reader to think about the I'm sure you'll understand speaker sleeping with ‘half- offence that the name can a-eye’ open is a commonly Language/Structural Devices When yu say half-caste cause people. Why I offer yu half-a-hand use metaphor for being Alliteration, Sibilance and ‘Beat’ – Alliteration is used Colloquial Language, Accent and Slang – Agard Yu mean when light an shadow Lines 11-22: Agard shows An when I sleep at night nervous and wary – feeling in several places across the poem, particularly of heavy ‘p’, ‘b’ utilises his own ‘voice’ – that of a black man of Caribbean that describing weather as insecure. The speaker here Mix in de sky I close half-a-eye and ‘d’ sounds. This helps to add a beat throughout the heritage raised in the UK. This includes features of his accent half-caste would seem has given the reader a small glimpse of the inner hurt and Is a half-caste weather?? bizarre, so questions why Consequently when I dream poem, creating a more pronounced rhythm and flow – this and rhythms of his speech patterns. One example is in people say something so divisions that the term helps the poem to mirror music popular in the Caribbean. replacing ‘the’ with ‘de.’ He also replaces the pronoun ‘you’ Well in dat case derogatory about people. He I dream half-a-dream creates. The adverb These heavier sounds, blended with sibilance (for example in with the sharper ‘yu’ or ‘u’. The heavier ‘d’ and ‘u’ sounds add juxtaposes the words ‘half- ‘consequently’ reminds the line 21: ‘So spiteful dem don’t want de sun pass”) presents a more of a stress to the beat throughout the poem. The England weather caste’ and ‘over-caste’ – An when moon begin to glow reader that words and personality of toughness and defiance and echoes the inclusion of these features also helps to bring the speaker’s when the weather is actions have consequences: Nearly always half-caste I half-caste human being speaker’s seething inner frustration. voice to life, giving the poem its power and authenticity. overcast, the clouds block out the speaker is unable to fully In fact some o dem cloud the sun & in labelling Cast half-a-shadow ‘dream’ because of the Quote: “Sit down at dah piano Quote: “Yu mean when light an shadow someone ‘half-caste’, people prejudiced nature of the And mix a black key” Mix in de sky” Half-caste till dem overcast block out their humanity. But yu come back tomorrow society around him. Refrain – The speaker repeats the phrase ‘Explain yuself/ Puns – Agard uses several puns throughout the poem to So spiteful dem dont want de Lines 23-27: The speaker Wid de whole of yu eye Lines 46-48: ‘Cast’ a shadow wha yu mean/When you say half caste’ at several points show his wit and intelligence – thus offering the perfect begins to show his frustration is another pun (play on throughout the poem. This assertive demand (using an reprisal to those who imply (through their use of the term) sun pass towards the situation in the An de whole of yu ear words) – again next few lines (‘ah rass’ is experimenting with the imperative verb) forces the reader to reflect on the meaning that he is in some way ‘half.’ One example is between lines 12 Ah rass And de whole of yu mind of the term that they use so flippantly towards the speaker. and 21, in which the speaker plays with the word ‘caste’ to West Indian slang to multiple meanings of ‘caste.’ Explain yuself communicate anger). He These lines again return to In the final refrain, the speaker drops the final line – mock the ‘overcast’ British weather. Later in the poem, the again asks the same the idea that he is seen as suggesting an increase in his aggression – his patience towards speaker uses the word ‘cast’ once more to describe how the Wha yu mean questions of the listener/ An I will tell yu half a man – an idea at odds those who use the term appears to be wearing thin. shadows are projected by a ‘half-caste human being.’ reader, creating a refrain – with this wonderfully lyrical Quote: “Explain yuself Quote: “I half-caste human being When yu say half-caste? this repetition reinforces De other half section of the poem. ‘h’ and Wha yu mean” Cast half-a-shadow” Yu mean tchaikovsky Agard’s key message. Of my story ‘m’ sounds soften his tone. Lines 28-32: ‘Tchaikovsky’ is Lines 49-55: The last 7 lines Form – The poem is a monologue read by a single character Structure – The poem appears to be split into two main Sit down at dah piano – it appears to be the voice of Agard himself. There are four halves. In the opening half of the poem, Agard uses a range not capitalised, perhaps as a of the poem are hard-hitting stanzas, with a refrain that breaks the poem up into sections. of humerous analogies to show that the word ‘half-caste’ has An mix a black key mark of dissent towards – a complete message in The poem does not adopt a strict rhyme scheme, but no meaning. In the second half of the poem, the speaker iconic white males. Once themselves. The idea of being Wid a white key again, an example of ‘whole’ is subverted onto the occasional rhymes add to the Caribbean-style rhythm, which sarcastically discusses being half a person. He ends by asking something beautiful (a reader: only when they is emphasised by a heavily-stressed rhythm throughout. the reader to use their ‘whole mind’ before addressing him. Is a half-caste symphony? symphony) made from commit to using all of their Quote: “An mix a black key Quote: “An de whole of yu ear mixing colours is used to show senses to perceive him will he Wid a white key” And de whole of yu mind” how strange the term is. tell them his full story.

Themes – A theme is an idea or message that runs throughout a text. Poems for Comparison Further Reading/ Watching Racism – The poem is about the racist attitudes that held by people in the British society in which the speaker lives. Half Caste can be compared and Click the link below to hear John Agard read Half It is demonstrated that many of these stereotypes and prejudices are so deeply engrained in people’s minds that they No Problem contrasted with this poem in relation to Caste before talking about race, prejudices in do not even realise their racism. The speaker reveals how he longs to be recognised as a whole person – not ‘half caste.’ the theme of racism. society, and how his Guyanan upbringing helped Divisions – The speaker presents a society that is divided, and in which there is animosity towards one another No Problem can be compared and him to become the poet that he is today. The Class contrasted with this poem in the approach https://www.theguardian.com/childrens-books-site/audio/2014/oct/13/john- from two opposing sides. By juxtaposing white and black language and ideas together throughout the entirety of Game the poem, the poet is able to highlight the gulf that people create between themselves and others in society. to the theme of divisions. agard-poetry-podcast-half-caste-diversity-race

Context – No Problem was written by Benjamin Zephaniah in 1996. Line-by-Line Analysis Benjamin Zephaniah – Benjamin Zephaniah Racism in the UK – The United Kingdom is a STANZA LINE POEM ANALYSIS (born 1958) is a British writer and dub poet. He multi-cultural society, largely owing to its Lines 1-4: The first line is a refrain that is repeated was born and raised in Birmingham, which he imperialist past, and more recent waves of throughout the poem, emphasising the core has called ‘The Jamaican capital of Europe.’ His immigration. As a result of preconceived message. The identity of the speaker is made clear father was Barbadian, and his mother Jamaican. attitudes linked to these historical circumstances, the extent 1 I am not de problem by the use of ‘de.’ The alliteration of the heavy ‘b’ Zephaniah is dyslexic, and left an ‘approved school’ (a and targets of racism in the country have altered over time. sound in line 2 gives a statement of toughness and boarding school for unruly children) unable to read or write. 2 But I bear de brunt defiance. Lines 3 and 4 suggest that racism begins Racism is also fueled by attitudes linked to the entrenched at a young age. The speaker shrugs these off as His poetry largely focuses on social and racial issues, and is historical class system. The UK has never implemented any ‘silly…stunts’ but the hissing sibilance that these inspired by the music and poetry of Jamaica. laws that officially discriminate against or segregate people of 3 Of the silly playground taunts words create show his inner contempt. minorities – however, it is only as recently as the 1960s that Dub Poetry – Most of Zephaniah’s work is 4 An racist stunts, Lines 5-8: After the second refrain, the speaker described as dub poetry, a formal of oral the first laws were introduced to actively oppose racism. injects humour into the poem to make another performance poetry that is sometimes recited Racist incidences appear to have a correlation with economic 5 I am not de problem point about racial stereotyping. The speaker alongside music. This type of poetry typically and political developments, for example in times of high explains that he was born as academically draws on the rhythms and rhetoric of reggae music. Often, unemployment or recession. Some recent studies have shown 6 I am born academic intelligent as everyone else, but the attitudes of these poems are used to highlight social or political causes. that racism is again on the rise in the UK, with nearly a third others towards him have metaphorically and Zephaniah’s poems often deal with ideas of institutionalized of those polled admitting that they are racially prejudiced. 7 But dey got me on de run literally had him ‘on the run’ (a reference to Events such as Brexit and the rise in popularism have been discrimination from the police). As a result, he is racism. Despite their often serious message, many of now ‘athletic’ – again this is a stereotype implying Zephaniah’s dub poems contain hope or humour. noted as possible influences for these trends. In the past, 8 Now im a branded athletic racism in the UK has resulted in riots and even murders. that all black people are seen as fast runners. 9 I am not de problem Lines 9-11: Line 10 suggests that the speaker’s opportunities are limited by the prejudices of 10 If yu give I a chance others. The subsequent lines demonstrate how the

Language/Structural Devices education system is geared towards a white, Alliteration, Sibilance and ‘Beat’ – Alliteration is used Colloquial Language, Accent and Slang – Perhaps the 11 I can teach yu of Timbuktu imperialist history. ‘Timbuktu’ is a colloquialism in several places across the poem, particularly of heavy ‘p’, ‘b’ most striking aspect of the poem is that Zephaniah utilises his used by some older white people to refer to the 12 I can do more dan dance most remote, undeveloped place possible. The and ‘d’ sounds. This helps to add a beat throughout the own ‘voice’ – that of a black man of Jamaican heritage speaker states that to him this is a real place with poem, creating a more pronounced rhythm and flow – this raised in the UK. This includes features of his accent and 13 I am not de problem its own history, silenced by British education. helps the poem to mirror music popular in the Caribbean. rhythms of his speech patterns. One example is in replacing 1 Lines 12-16: In lines 12 and 14, the speaker shares These heavier sounds (for example in line 2: ‘But I bear de ‘the’ with ‘de.’ He also replaces the pronouns ‘they’ and ‘you’ 14 I greet yu wid a smile some more stereotypical assumptions about black brunt’) also presents a personality of toughness and defiance. with ‘dey’ and ‘yu’ – the heavier ‘d’ and ‘u’ sounds this creates people, that they are good dancers and have Furthermore, the repetition of ‘s’ in ‘silly playground taunts/ adds more emphasis to the beat. The inclusion of these 15 Yu put me in a pigeon hole wide smiles. The speaker uses the idiom of the an racist stunts’ creates sibilance implying inner frustration. features helps to give the poem its power and authenticity. ‘pigeon hole’ to highlight that grouping all black Quote: “ But I bear de brunt Quote: “I am not de problem 16 But i am versatile people into these categories is detrimental to their individuality. The speaker explains that in fact he Of the silly playground taunts” But I bear de brunt” is ‘versatile’, meaning that he is multi-talented, Refrain – The speaker repeats the opening phrase ‘I am not Idioms – The speaker utilises several commonplace British with developed skills in a wide range of areas. de problem’ at several points throughout the poem. This idioms throughout the poem. Idioms are terms in which the 17 These conditions may affect me Lines 17-20: The break of stanza accentuates the assertive declaration forces the reader to reflect on the meaning is not deducible from the individual word meanings. brief change in tone, as the speaker contemplates prejudices that exist in society, in which minority groups may They are often old terms, from a time in which word 18 As I get older, for a moment the effect that these prejudices may be identified as ‘the problem.’ The speaker’s true message is meanings different. The speaker employs several of these, for have upon him as he ages. The use of the adverb revealed in the final utterance of the refrain, marginally example ‘pigeon hole’ and ‘chip on my shoulder’ to 19 An I am positively sure ‘positively’ to describe his certainty also references altered to state ‘black is not de problem’ – highlighting how demonstrate how unfathomable some of the prejudicial, long his durability – he maintains a positive outlook. A ‘chip on the shoulder’ is a common idiom for a skin colour is not a fair indicator of a person’s character. outdated views towards black people are. 20 I have no chips on my shoulders, grudge – the speaker is explaining that he bears

Quote: “I am not de problem Quote: “An I am positively sure 21 Black is not de problem no ill will to those that are prejudiced towards If yu give I a chance” I have no chips on my shoulders” him. His ability to rise above it gives him power. Form – The poem is a monologue read by a single character Structure – Each section of the poem is led by the refrain ‘I 22 Mother country get it right Lines 12-16: In the final refrain, the speaker – it appears to be the voice of Zephaniah himself. There are am not de problem?’ (or in the final case, ‘Black is not de replaces the pronoun ‘I’ with ‘black’ – suggesting only two stanzas, but the refrain breaks the poem up into problem’). The first stanza is largely jovial, mockingly 23 An juss fe de record, that many that look at him do not judge him on further sections. The poem generally employs A-B-C-B rhyme referring to some of the stereotypical attitudes that he has his individual merits, but for the colour of his skin. scheme, which is occasionally held by half-rhymes. The rhyme had to contend with. The second stanza is slightly more 24 Sum of me best friends are white. The poet uses wry humour to refer to Britain as the ‘mother country’, a colonial reference. In the and line length creates a rhythm consistent with dub poetry. serious, and reveals the key message about British society. final two lines, the poet subverts the tendency of Quote: “If you give I a chance… Quote: “Black is not de problem some to follow something that could be construed …I can do more than dance.” Mother country get it right.” as offensive with their own moral justification.

Themes – A theme is an idea or message that runs throughout a text. Poems for Comparison Further Reading/ Watching Racism – The poem is about the racist attitudes that held by people in the British society in which the speaker lives. No Problem can be compared and This video resource (accessed through the link below) It is demonstrated that many of these stereotypes and prejudices are so deeply engrained in people’s minds that they Half Caste contrasted with this poem in relation to is useful to watch in order to enhance your do not even realise their racism. The speaker reveals how he longs to be recognised as an individual, not a skin colour. the theme of racism. understanding of the poem. Exactly 50 years after Divisions – The speaker presents a society that is divided, and in which there is animosity towards one another No Problem can be compared and the introduction of the Race Relations Act, Benjamin The Class contrasted with this poem in the approach Zephaniah looks at whether racism in the UK has diminished, or from two opposing sides. By juxtaposing white and black language and ideas together throughout the entirety of Game the poem, the poet is able to highlight the gulf that people create between themselves and others in society. to the theme of divisions. just evolved. https://www.youtube.com/watch?v=RXDxMH2EUTY

Context – Poppies was written by Jane Weir, and was published in The Guardian in 2009. Line-by-Line Analysis Jane Weir – Jane Weir was born in 1963, to a Poppies – Poppies are a type of flowering plant STANZA LINE POEM ANALYSIS British mother and an Italian father. She spent her that have become known as a symbol of The poem starts with the speaker’s close relative childhood growing up in both Italy and northern remembrance for military personnel killed serving 1 Three days before Armistice Sunday (assumed to be a son) leaving. Armistice Sunday is England. She also lived in Northern Ireland during the the UK, Canada, Australia and New Zealand in war. Small 2 and poppies had already been placed associated with remembrance, so the mention of this troubled 1980s, which allowed her to continue to take in artificial poppies are traditionally worn in these countries in in the first line sets the tone of the poem. The 1 3 on individual war graves. Before you left, description of the poppy provides a powerful piece different cultures and traditions. Poppies was written after the lead up to Remembrance/Armistice Day. The poppy as a Carol Ann Duffy asked Jane Weir (and other poets) to 4 I pinned one onto your lapel, crimped petals, of imagery – the ‘spasms of red’ on a ‘blockade’ symbol of remembrance was first inspired by the WWI poem could just as easily symbolise a soldier who has been compose poems to raise awareness of the mistreatment and ‘In Flanders Fields’, which describes how poppies were the first 5 spasms of paper red, disrupting a blockade brutally shot dead in action. The speaker shows fear deaths of British soldiers in Afghanistan and Iraq. flowers to grow in the fields churned up by soldiers’ graves. 6 of yellow bias binding around your blazer. through using the symbol of remembrance as a Armistice Day – Armistice Day is celebrated The Iraq/ Afghanistan Conflicts – The War token of goodbye. every year on 11th November, in order to celebrate in Afghanistan began in 2001 after 9/11, when The behaviours that the narrator speaks of are the Armistice signed by the Allies of World War I USA and its allies invaded Afghanistan in order 7 Sellotape bandaged around my hand, typical of those exhibited between a parent and and Germany. It took place on the ‘11th hour of the 11th day of to rid the country of Al-Qaeda, through removing the 8 I rounded up as many white cat hairs their child (in this case likely a mother and son). The the 11th month, in 1918. The date also coincides with Taliban from power. The Iraq war began in 2003, when a 9 as I could, smoothed down your shirt's speaker describes partaking in some nurturing tasks Remembrance Day (UK) and Veterans Day (US). In Britain, United States-led government invaded Iraq in order to (e.g. cleaning his blazer of fluff, smartening up his 10 upturned collar, steeled the softening shirt) but appears to feel sorrow at not being able many people attend an 11am ceremony held at the Cenotaph overthrow Saddam Hussein. In both wars, the power vacuum 11 of my face. I wanted to graze my nose to do the other things that he has outgrown (e.g. in London – an event that is organised by the Royal British that resulted from removing these powers meant that the Eskimo kiss, rub fingers through hair, etc.). To Legion, a charity devoted to continuing the memory of those coalition troops faced several years in battle against 2 12 across the tip of your nose, play at substantiate this idea, the use of the interesting verb who served in WW1 and all subsequent wars. insurgents, in which many were killed. 13 being Eskimos like we did when ‘steeled’ is used to show how the narrator retains a 14 you were little. I resisted the impulse stiff upper lip in the face of an emotional time. The use of the metaphor ‘blackthorns of your hair’ 15 to run my fingers through the gelled makes reference to both the visual appearance of Language/Structural Devices 16 blackthorns of your hair. All my words the son’s hair and the fact that it is now something Imagery – Weir uses imagery to accentuate the contrast Varied Verbs– A wide range of verbs are used to 17 flattened, rolled, turned into felt, that the speaker cannot touch, since the son is no between the horrific manner in which the son has assumedly demonstrate the manner in which actions are carried out – longer a child. Another metaphor is used to describe the narrator died, and the comforts of home. For example, the use of the this helps to carry the tone and key messages of the poem. as ‘melting’, referencing the fact that they feel as term ‘Sellotape Bandaged’ causes the reader to consider a For example, the narrator reminisces about fond memories 18 slowly melting. I was brave, as I walked though they are falling apart inside through the battlefield injury, whilst on another level gives a more from the past, using positive verbs such as ‘play’ and 19 with you, to the front door, threw despair of the parting moment. The verb ‘threw’ comforting image of a mother cleaning cat hairs off her son’s ‘smoothed.’ Verbs used to describe their interactions in the 20 it open, the world overflowing suggests that the narrator wants this desperate blazer. The same is true of her pinning the poppy on her son, present all offer connotations of pain and discomfort, e.g. moment to be over hastily. The simile ‘world a nurturing image which is contrasted with the words ‘spasm’ ‘flattened,’ ‘pinned’, and ‘graze.’ The variation in these verbs 21 like a treasure chest. A split second overflowing like a treasure chest’ describes the idea and ‘red’, presenting the idea of a horrific, violent death. helps to form the sharp contrasts that shape the poem. 22 and you were away, intoxicated. that the narrator is full of ‘overflowing’ emotions. Quote: “ I pinned one onto your lapel, crimped petals, Quote: “All my words 23 After you'd gone I went into your bedroom, The interesting adjective ‘intoxicated’ is used to 3 describe the son as he leaves – possibly an indication spasms of paper red, disrupting a blockade” flattened, rolled, turned into felt,” 24 released a song bird from its cage. that he is enthusiastic about going away to war, not Metaphors – Figurative language is highly prevalent Interesting Adjectives – Weir uses few adjectives 25 Later a single dove flew from the pear tree, fully aware of the atrocities that take place there. throughout the poem, particularly from the third stanza throughout the poem (largely in keeping with its simple and 26 and this is where it has led me, The mention of releasing the songbird is unlikely to onward. For example, the door to the house represents the sombre tone) but those that are included are hugely be literal – rather a metaphor regarding the door to the world. The release of the songbird symbolises the descriptive. For example, the use of the adjective ‘intoxicated’ 27 skirting the church yard walls, my stomach busy narrator ‘letting go’ of something that has brought narrator letting go of something that has given her joy. gives the reader a depth of understanding about both the 28 making tucks, darts, pleats, hat-less, without them joy. Doves are often seen as symbolic of peace, Furthermore, the dove represents the symbol of peace – son’s mindset heading into war (enthusiastic) and the 29 a winter coat or reinforcements of scarf, gloves. leading the narrator to follow it – giving the idea of them hoping for peace, but also representing the showing the narrator that their son is now at peace. narrator’s trepidation regarding the son’s mindset. idea that they have little to do with their son gone. Quote: “ After you'd gone I went into your bedroom, Quote: “ A split second The speaker is led by the dove to a war memorial. released a song bird from its cage.” and you were away, intoxicated.” Here the bird departs – thus suggesting that its sole purpose was to lead the speaker there. We can 30 On reaching the top of the hill I traced Form/Structure – At first glance, the poem appears to Narrative Structure – The time sequence throughout the imply from this that the son has died in the war - have a strong, regular form. There are four stanzas – the first poem changes along with the narrator’s emotions. The reader 31 the inscriptions on the war memorial, the memory of him leaving is the last moment the and last have 6 lines, whilst the middle stanzas have 11 and 12. is led through the time sequence from ‘three days before’ (line 32 leaned against it like a wishbone. narrator will ever have with him. Even in the final But, a closer look reveals that 19 of the 35 lines in the poem 1), ‘before you left’ (3), ‘after you’d gone’ (23), to ‘this is where 4 33 The dove pulled freely against the sky, stanza, language relating to textiles/ clothing (stitch) have breaks in the middle. This is suggestive of a narrator it has led me’ (25). At the end of the poem, the narrator finds 34 an ornamental stitch, I listened, hoping to hear as there is earlier in the poem (blazer, scarf, gloves) that is trying to keep calm, but is breaking down inside. themselves caught between the past and the present. is representative of domestic comfort, in contrast to 35 your playground voice catching on the wind. language showing the violence and horror of war Quote: “play at/being Eskimos like we did when Quote: “and this is where it has led me, (red, spasms). Ending the poem, the narrator you were little/ I resisted the impulse” skirting the church yard walls, my stomach busy” reaches for memories but only hears silence.

Themes – A theme is an idea or message that runs throughout a text. Poems for Comparison The Poet’s Influences The poem came out of sadness and anger, the two emotions combined, and it was written quickly, which is Remembrance – The theme of remembrance is particularly eminent throughout the poem – as expected from Poppies can be compared and contrasted fairly unusual…At the time the news was full of conflict; Iraq, Afghanistan, Israel, and of course we’d had the Ozymandias with this poem in relation to the theme of Balkans, and various ‘tribal wars’ in Africa…. the title (poppies are a symbol of remembrance) and the 1st line (Armistice Day is a day in which people lost in war We very rarely hear the women speak. I have two sons myself and I’d read in the are remembered. The narrator in this poem recalls with fondness memories from her son’s childhood. remembrance newspapers, seen on TV the verdicts from the inquests on soldiers killed in Iraq. Who could forget the harrowing testimonies of the soldiers families, and in particular their Mothers…and I Loss and Suffering – Like many other war and conflict poems, the poem deals with the themes of loss and Poppies can be compared and contrasted was angry and frustrated at the apathy, or what I perceived as ‘voicelessness’ and ability to be heard or get any kind of justice. I wanted to write a poem from the point of view of a suffering. However, in this case, the poem is told from a unique perspective: not from those who are present or are Exposure with this poem in the approach to the mother and her relationship with her son, a child who was loved cherished and protected… theme of loss and suffering. and it had led to this…. heightened and absolute fear that parents experience in letting their reporting on war, but the sense of loss and suffering felt by those left behind – the secondary victims of war. children go, the anxiety and ultimately the pain of loss…

Context – The Charge of the Light Brigade was written by Alfred, Lord Tennyson, in 1854 Line-by-Line Analysis Alfred, Lord Tennyson – Alfred, Lord Tennyson The Crimean War – The Crimean War was a STANZA LINE POEM ANALYSIS (1809-1892) was a poet, whose work remains military conflict fought between 1853 and 1856, in 1 Half a league, half a league, A ‘league’ is an old way to measure distance, equating to around popular today. Many phrases from his work have which the Russian Empire lost to an alliance of 2 Half a league onward, 3 miles. The repetition of this commences a rolling rhythm that become commonplace in English today. He was France, Britain, the Ottoman Empire, and Sardinia. The 3 All in the valley of Death continues through the poem, resembling the sound of horses’ 1 4 Rode the six hundred. hooves galloping. Tennyson uses a metaphor in describing the one of 11 children, and received a good literary education. He causes for the war are notoriously blurry, however relate to a 5 “Forward, the Light Brigade! opposition-dominated battlefield as ‘the valley of death.’ This has began publishing poems whilst still a student at Cambridge. reluctance to allow Russia to gain land during the Ottoman 6 Charge for the guns!” he said. religious connotations (Psalm 23). ‘Light’ brigade is in opposition In 1850, he became Poet Laureate, writing poems on matters decline. Despite these unclear intentions, it has become 7 Into the valley of Death to the ‘heavy’ artillery, and yet they are being asked to ‘Charge of national importance until his death in 1892. known for its bloodiness and catastrophic mismanagement. 8 Rode the six hundred. for the guns!’ It is assumed ‘he’ refers to the commander. Once more the order is repeated to charge forward. The poet Attitudes to War – Public perceptions of war The Battle of Balaclava – The Battle of 9 “Forward, the Light Brigade!” th uses a rhetorical question to question the sense of the order – yet have significantly altered since Lord Tennyson’s era, Balaclava was fought on 25 October 1854 as a 10 Was there a man dismayed? affirms that the soldiers carried out the order even though they owing largely to the horrendous impact of WWI, part of the Crimean War. During this battle, ‘The 11 Not though the soldier knew knew there had been a mistake (someone had blundered). The WWII and the Vietnam War. Many at the time felt Charge of the Light Brigade’ took place. The 12 Someone had blundered. anaphora involving the lines beginning ‘theirs’ is representative of 13 Theirs not to make reply, that war was worthwhile and glorious, and that there was no cavalry were intended to be sent to prevent Russians from 2 some form of chant or recitation, thus adopting the voice of the 14 Theirs not to reason why, honour greater than dying for one’s country. Whilst Tennyson removing captured guns, however a miscommunication soldiers – it is not their place to answer back or question, just to 15 Theirs but to do and die. was predominantly against the idea of war (the poem shows resulted in them charging directly at an artillery battery, ‘do and die’ (follow orders knowing that they will likely die). The 16 Into the valley of Death disgust for the treatment of soldiers), he presents that taking surrounded, and under withering direct fire. They reached the last two lines are repeated (a refrain) to emphasise the main 17 Rode the six hundred. orders and dying for one’s country is honourable. battery, but high casualties forced them to quickly retreat. action of the poem – the 600 men charging in. 18 Cannon to right of them, The anaphora of cannon creates the sense that the cannons are 19 Cannon to left of them, everywhere – the soldiers are hugely outnumbered and facing 20 Cannon in front of them enemy fire from all angles. The use of varied verbs (volleyed and Language/Structural Devices 3 21 Volleyed and thundered; thundered) creates the reverberating sound of the cannons firing, Rhetorical Questions/ Imperative Verbs – Tennyson Alliteration – A range of alliteration is used throughout the 22 Stormed at with shot and shell, whilst the alliterative use of the ‘s’ sound in ‘stormed at with shot makes smart use of rhetorical questions and imperative verbs poem to recreate the sounds that the soldiers hear in the 23 Boldly they rode and well, and shell’ reflects the viciousness of the attack that they face. The 24 Into the jaws of Death, adverb ‘boldly’ reflects their undeterred demeanour, even though to both encourage the reader to think deeply about the battlefield environment. There is a visceral effect, for 25 Into the mouth of hell the extension of the metaphor (becoming the ‘jaws of death’) situation, and to gain exert authority over how the reader example, that is created when the reader traverses the line 26 Rode the six hundred. makes this appear more and more like a suicide mission. should react to the poem. For example, the rhetorical ‘stormed at with shot and shell:’ The repeated ‘s’ sound 27 Flashed all their sabres bare, Sabres are the type of curved sword that these type of question ‘was there a man dismayed?’ manipulates the replicating the violence of the moment. Alliteration is also 28 Flashed as they turned in air cavalrymen would have been carrying. Remember that they are reader into considering that there was a good cause to be utilised to capture the reactions of the world to the event – 29 Sabring the gunners there, charging into gunfire, and yet they themselves are not armed upset about the order. Furthermore, the imperative verb the repeated ‘wo’ sound in ‘All the world wondered’ depicting 30 Charging an army, while with guns. The repetition of sabre/sabring highlights the deficit ‘honour’ tells the reader exactly how they should think of the the astonishment of those reading about the battle. 31 All the world wondered. that they hold. However, ‘flashed’ gives the idea of being proud soldiers. 4 32 Plunged in the battery-smoke and imperious, even in the face of such danger. Tennyson once Quote: “Honour the charge they made! Quote: “Charging an army, while 33 Right through the line they broke; more uses alliteration, this time of the ‘w’ sound in ‘all the world Honour the Light Brigade.” All the world wondered.” 34 Cossack and Russian wondered.’ In this case wondered means they were filled with 35 Reeled from the sabre stroke awe, and the repeated ‘wo’ sounds reflect the voices of those

Metaphors – The predominant metaphor used throughout Varied Verbs – Tennyson uses some interesting and original 36 Shattered and sundered. reading about the story around the world. The Light Brigade is the poem compares the battleground to the ‘valley of death’, verbs to portray the actions, sights, and sounds on the 37 Then they rode back, but not able to break through the enemy line –a big achievement. They and an extension of this (as the soldiers reach the opposition battlefield. For example, the artillery is described using the 38 Not the six hundred. are then forced to retreat, but it is clear that some have died. battery) is the jaws of death. This creates a sense of ominous words ‘volleyed’, ‘thundered’, and ‘stormed.’ Such powerful 39 Cannon to right of them, In a near repeat of the beginning of stanza 3, the Light Brigade certainty that the men will perish when they enter. This verbs make the artillery seem like an almighty force of 40 Cannon to left of them, are surrounded by cannons, however the use of the preposition makes the return of a number of them seem all the more nature (note the connotations of violent weather), something 41 Cannon behind them ‘behind’ shows us that they have now turned around and are remarkable. far bigger and stronger than the Light Brigade. 42 Volleyed and thundered; riding back. Note the use of rhyme in this stanza, stressing ‘shell, 43 Stormed at with shot and shell, ‘fell’, ‘hell’ and ‘well.’ These four words alone emphasise how Quote: “Into the valley of Death Quote: “ Volleyed and thundered; 5 44 While horse and hero fell. horrific and dangerous the battle was, yet how the Light Brigade Rode the six hundred.” Stormed at with shot and shell” 45 They that had fought so well fought strongly and were prepared to die for their country in the Form/Structure – The poem is composed of six stanzas Rhythm/Rhyme – The poem is written in dimeter – 46 Came through the jaws of Death, face of it. The ‘jaws of death’ metaphor had suggested certain 47 Back from the mouth of hell, death, and yet ‘what was left of them’ rode back out – thus which vary in length from six to twelve lines. Each of the meaning that there are two stressed syllables per line. These 48 All that was left of them, demonstrating their achievement against the odds. The main stanzas shares similarities, for example ending with the refrain are usually followed by at least two unstressed syllables, 49 Left of six hundred. difference, as the last line expresses, is there are far fewer of them. ‘six hundred’, thus emphasising the most important message creating the sound of Light Brigade riding into battle on 50 When can their glory fade? In the final paragraph, Tennyson aims to drive home his message in the poem. The poem also makes use of anaphora (the horseback. The use of sporadic rhyme further strengthens this 51 O the wild charge they made! of their glory, and cement their places as legends. The use of ‘O’ same words repeated at the beginning of lines). rhythm, creating a flow to the poem as it is read aloud. 6 52 All the world wondered. and an exclamation mark shows the speaker’s sheer astonishment Quote: “Cannon to right of them / Cannon to left of them / Quote: “Flashed all their sabres bare / Flashed as they 53 Honour the charge they made! at the bravery of the cavalry’s charge. The speaker then uses 54 Honour the Light Brigade, ‘honour’ as an imperative verb, to command the reader to Cannon in front of them.” turned in air / Sab’ring the gunners there.” 55 Noble six hundred! remember and respect the noble six hundred.

Themes – A theme is an idea or message that runs throughout a text. Poems for Comparison The Poet’s Influences Remembrance – Tennyson’s predominant aim in the poem is to create a lasting memory of the bravery of the Exposure can be compared and contrasted FROM THE TIMES, OCTOBER 25th, 1854: If the exhibition of the most brilliant valour, of the excess of courage… I shall proceed to describe, to the best of my power, what occurred under my own eyes, and to state anonymous men in the Light Brigade. Clear respect is shown for the men throughout the entirety of the poem, but Mametz Wood with this poem in relation to the theme of the facts which I have heard from men whose veracity is unimpeachible, reserving to myself the right of nd remembrance private judgement in making public and in surpressing the details of what occurred on this memorable day … the clear attempts to cement their legacy come in the 2 half, through vocabulary such as ‘hero’ and ‘glory.’ At11:00 our Light Cavalry Brigade rushed to the front... The Russians opened on them with guns from the redoubts on the right, with volleys of musketry and rifles. They swept proudly past, glittering in the morning The Futility of War – Whilst Tennyson’s poem conforms to the idea that death for one’s country in war is The Charge of the Light Brigade can be sun in all the pride and splendor of war. We could hardly believe the evidence of our senses. Surely that deemed ‘honourable’, it also shows thinly veiled disgust at the treatment of the men in the Light Brigade. This is Exposure compared and contrasted with this poem handful of men were not going to charge an army in position? Alas! It was but too true -- their desperate valour knew no bounds, and far indeed was it removed from its so-called better part -- discretion. They most evident in the lines ‘ though the soldier knew/ Someone had blundered.’ in the approach to the futility of war. advanced in two lines, quickening the pace as they closed towards the enemy.

Context – The Class Game was written by Mary Casey, and was first published in Voices in 1979. Line-by-Line Analysis Mary Casey – Little is known about Mary Liverpool in the 1970s and 1980s – Liverpool STANZA LINE POEM ANALYSIS Casey, except that she was a housewife from was a working class city that suffered particularly 1 How can you tell what class I’m from? Lines 1-4: The poem opens with confidence, Liverpool. Casey contributed to a magazine badly throughout the recession of the 1970s and addressing the reader directly with the personal called Voices, which existed between 1972 and 1980s. There were high levels of unemployment (later 2 I can talk posh like some pronoun ‘you’ and a challenging rhetorical 1984. In Voices, poets from working class backgrounds, who exacerbated by the policies of Margaret Thatcher’s question. She asserts that despite what others think, she chooses to be the way that she is. The had no literary background or published works. They were Conservative government). There was a vast gulf between 3 With an ‘Olly in me mouth just ordinary working-class people, writing about everyday the lives enjoyed by the rich and the existence suffered by the speaker then uses colloquial language to introduce some ‘posh’ identifiers, e.g. talking with experiences. ‘The Class Game’ was one of four of Casey’s poor. Such disparities caused anger, which led to anger on the 4 Down me nose, wear an ‘at not a scarf a plummy accent and looking down your nose on poems that appeared in the magazine. streets of the city throughout the late 1970s and early 1980s. other people (being snobby).

Voices Magazine – Voices magazine was initiated The U.K’s historical class system – Although the 5 With me second-hand clothes. Lines 5-10: The speaker then sets about drawing in 1972 in order to give those from working classes class system was less formalised than in earlier comparisons between the classes, for example in a literary voice. Based in Manchester, the journal history, class divisions still separated different 6 So why do you always wince when you hear clothes (stating that the working class wear a hat ran for around 12 years. However, there was a people in society from one another. Society was and not a scarf) in dialect (‘Tara’ instead of ‘bye rather snobby critical response to the poems in the made up of wealthy, noble families, middle classes, and 7 Me say ‘Tara’ to me ‘Ma’ instead of ‘Bye Mummy dear’? dear’) and in locations (‘corpy’ and not ‘Wirral’). journal. Even the academic who started the working classes, and social mobility (particularly in the By juxtaposing these ideas next to one another, 8 How can you tell what class I’m from? the differences between the classes is accentuated. magazine, Ben Ainsley, wrote in the introduction that he recession). Large social and cultural divides still existed, ‘Wince’ shows the scorn of snobs towards her ‘could make no great claims for these pieces’ insinuating that alienating people from one another, and creating a accent. The question from line 1 is repeated in line he held doubts regarding the literary value of the work. dangerous environment in which anger was able to breed. 9 ‘Cos we live in a corpy, not like some 8 – this is a challenge to snobbish attitudes. 10 In a pretty little semi, out Wirral way Lines 11-14: The Wirral is seen as a peaceful, suburban area outside Liverpool – the speaker Language/Structural Devices 11 And commute into Liverpool by train each day? observes that the ‘posh’ people only commute into Liverpool for work. The speaker then plays with

Metaphor and Simile – In the quest for a simple, ‘down- Colloquial Language and Slang – Informal language is 12 Or did I drop my unemployment card the stereotypes middle-class people make about to-earth’ tone, Casey uses figurative language sparingly. utilised across the poem to mirror the dialect of the working working classes being lazy and unemployed. Note at this. Once more, the speaker contrasts the However, a metaphor is used when the speaker accuses posh class speaker. For example, Liverpudlian terms such as ‘corpy’ 13 Sitting on your patio (We have a yard)? people of speaking with an ‘Olly (plum) in their mouths. Such (council housing) and ‘wet nelly’ (a type of pudding) show language used by different classes to describe the same thing (‘patio’ and ‘yard’). a metaphor is used to represent the deliberate, mannered the speaker’s pride in their distinct regional dialect. Non- 1 14 How can you tell what class I’m from? speech used by people perceived as being posh. Towards the standard grammatical forms – e.g. ‘tara’ and ‘me tea’ are Lines 15-19: Once more, the section starts with the end of the poem, Casey inverts this metaphor with the simile also used throughout. Some colloquialisms, for example ‘bog’, 15 Have I a label on me head, and another on me bum? refrain of ‘How can you tell what class I’m from?’ ‘stick in your gullet like a sour plum’ showing the discomfort ‘pee’, and ‘bum’ seem to be used in attempt to shock or The sarcasm continues, with the speaker becoming more outrageous with the aim of of the middle classes in the presence of the working classes. offend the middle class reader. 16 Or is it because my hands are stained with toil? shocking the middle-class listener – for example Quote: “Why do you care what class I’m from? Quote: So why do you always wince when you hear the reference to ‘bum’, ‘bog’, and ‘pee.’ She Does it stick in your gullet like a sour plum? Me say ‘Tara’ to me ‘Ma’ instead of ‘Bye Mummy dear’?” 17 Instead of soft lily-white with perfume and oil? becomes more accusatory, referring to the things Refrain – The speaker repeats the opening question ‘How Imagery – The imagery in the poem serves to compare life people do to present that they are middle class – can you tell what class I’m from?’ at several points for the working and middle classes. One key image is given 18 Don’t I crook me little finger when I drink me tea e.g. ‘crooking’ their little finger when drinking. throughout the poem. This challenging question addresses the presenting two types of hands. The working class hands are Lines 20-22: Suddenly, the speaker alters the reader directly through the use of the personal pronoun ‘you’, portrayed as rough and weathered - ‘stained with toil’, whilst 19 Say toilet instead of bog when I want to pee? refrain slightly – now asking ‘why do you care forcing them to reflect on their prejudice through its rhetorical the middle class hands are described as being far more cared- what class I’m from?’ This is the key intention of nature. The speaker’s true message is revealed in the final for - ‘soft lily white from perfume and oil.’ Another vivid 20 Why do you care what class I’m from? the poem: to make the reader consider why they care about people’s class. Line 21 uses the utterance of the refrain, as it is marginally altered to ask ‘why image is given of the council housing in Liverpool, in 21 Does it stick in your gullet like a sour plum? metaphor of talking with a plum in your mouth do you care what class I’m from?’ comparison to the ‘pretty little semi’ out in the Wirral. (talking ‘posh’) to demonstrate how unappealing Quote: “How can you tell what class I’m from? Quote: “Or is it because my hands are stained with toil? working class people appear to those from snobby I can talk posh like some” Instead of soft lily-white with perfume and oil?” 22 Well, mate! A cleaner is me mother middle class backgrounds.

Form – The poem is a monologue read by a single character Structure – Each section of the poem is led by the refrain 23 A docker is me brother Lines 23-26: The speaker lists the remainder of – it is ambiguous as to whether this is the voice of Casey ‘How can you tell what class I’m from?’ (or in the final case, a her working class checklist – revealing the occupations of her family members, and some herself. There is only one stanza, but the refrain breaks the variant of this). There is a question/ answer structure used 24 Bread pudding is wet nelly poem up into sections. The poem generally employs rhyming throughout – likely to encourage the reader to reflect on why more of the slang terminology used to describe foods (wet nelly) and body parts (belly). In the couplets, (A-A-B-B) but this is often held by half-rhymes, and they play the class game themselves. The final line reveals the 25 And me stomach is me belly final line, the speaker overtly states what can be at times (particularly the beginning) the rhythm is uncertain. poet’s true message – they are proud of being working class. inferred throughout the preceding sections of the Quote: “Or did I drop my unemployment card Quote: “And me stomach is me belly 26 And I’m proud of the class that I come from. poem – that she is proud of her class, and has no Sitting on your patio (We have a yard)?” And I’m proud of the class that I come from.” interest in pretending to be anything else.

Themes – A theme is an idea or message that runs throughout a text. Poems for Comparison Wider Reading Class – The poem is about the class divisions that exist in society, and the games that we play when we make The Class Game can be compared and “Following the post-war boom of the 1950s and judgements about others, or present ourselves in ways that we wish others to see us. The speaker lists several means Cousin Kate contrasted with this poem in relation to 1960s, unemployment rose over the 1970s and by which her class is judged, including her accent, her vocabulary, and her father’s employment position. the theme of class. 1980s. In some areas, 1991 unemployment was Divisions – The speaker presents a society that is divided, and in which there is animosity towards one another The Class Game can be compared and higher than in the inter-war slump: Knowsley, on Belfast contrasted with this poem in the approach the edge of Liverpool, had 15% unemployment in 1931 but 31% in from two opposing sides. By juxtaposing working class and middle class ideas together throughout the entirety of Confetti the poem, the poet is able to vividly highlight the differences between the two classes. to the theme of divisions. 1991.” http://www.visionofbritain.org.uk/unit/10105821/rate/

Context – The Destruction of Sennacherib was written by Lord Byron and published in 1815. Line-by-Line Analysis Lord Byron – George Gordon Byron, 6th Baron The Biblical Story – The Destruction of STANZA LINE POEM ANALYSIS Byron (1788-1824) was a leading poet in the Sennacherib is based on a short biblical story. In Byron opens the poem by utilising a simile, comparing romantic movement, in addition to being a the story, the powerful, wealthy Assyrian leader the Assyrians to a wolf to highlight their cruel and politician, nobleman and peer. Byron is amongst Sennacherib brings a vast army to conquer the 1 The Assyrian came down like the wolf on the fold, cunning nature. It also demonstrates the danger of the the most popular and wide-read British poets. He is known as holy city of Jerusalem. Despite commanding around 185,000 Assyrians – they are looking to destroy their victims. 2 And his cohorts were gleaming in purple and gold; Their characterisation is further depicted through the one of the most flamboyant and notorious of the major fierce Assyrian soldiers, the army was annihilated, seemingly 1 3 And the sheen of their spears was like stars on the sea, description of bold uniforms – the extravagant purple Romantic poets. Throughout his life, Byron travelled by God himself, who went forth and ‘smote’ the camp of the and gold colours emphasising their wealth; Verbs and extensively, particularly throughout Italy. He was good Assyrians in the night. Whilst Sennacherib survived the attack, 4 When the blue wave rolls nightly on deep Galilee. adjectives such as ‘gleaming’ and ‘sheen’ further friends with Percy Bysshe Shelley. In later life, Byron fought he lost respect. He never dared to attack Jerusalem again emphasise this. The quality/condition of the Assyrian for the Ottoman Empire in the Greek War of Independence. and was later murdered by two of his own sons. weaponry is shown through the simile in lines 3-4. Byron’s Personal Life – Byron was both Romanticism – Romanticism was an artistic, The second stanza outlines how the condition of the celebrated and condemned in his life for his literary, musical, cultural and intellectual soldiers miraculously alters overnight. In keeping with aristocratic excesses, which included numerous love movement that originated in Europe in the latter the romantic tradition, Byron utilises a metaphor affairs (with men and women), amassing huge half of the 18th Century (peaking in the early 19th 5 Like the leaves of the forest when Summer is green, involving nature to depict this, likely referencing that debts, and being involved in scandalous rumours. It is not Century). Romanticism is characterised by its emphasis on the slayings were not man-made, but seemingly 6 That host with their banners at sunset were seen: natural. In life, preparing to attack, the army are difficult to imagine that his many love interests influenced emotions, glorifying nature and past events – memories and 2 7 Like the leaves of the forest when Autumn hath blown, sprightly, compared to ‘the leaves of the forest when both the content and the style of his poetry. He was described settings are often colourfully described. It was partially in summer is green.’ However, in death they are described by one contemporary as ‘mad, bad and dangerous to know.’ response to the scientific rationalisation of nature of the era. 8 That host on the morrow lay withered and strown. as ‘withered’ and ‘strown’ like ‘the leaves of the forest In addition to a number of illegitimate children, Byron had Aside from Lord Byron, amongst the most famous romantic when Autumn hath blown.’ The reader is given a clear one legitimate child: Ada Lovelace (pictured). poets were William Wordsworth and Percy Bysshe Shelley. image of the depth of the transformation, which influences them in attributing the events to the divine. The Angel of Death makes his first appearance in Language/Structural Devices 9 For the Angel of Death spread his wings on the blast, stanza 3. Whilst deadly, the angel is described as being graceful, rather than violent. The effortless manner of 10 And breathed in the face of the foe as he passed; Similes – Byron also employs a number of similes throughout the poem, often comparing the subjects within the poem to 3 the killings (‘breathed…as he passed’) serves to natural elements. For example, in the opening line, the Assyrian is compared to the ‘wolf’, no doubt a reference to the 11 And the eyes of the sleepers waxed deadly and chill, demonstrate the power in the will of God. As opposed invaders’ aggression, wiliness and ferocity. This forms a significant contrast with the later simile used to describe the Assyrians to being gradual, death takes place instantly, 12 And their hearts but once heaved, and for ever grew still! after death – ‘cold as the spray of the rock-beating surf.’ Life and warmth has been drained from the soldiers. Similes are also highlighting the ability of God to give and remove life. utilised to compare the changing status of the soldiers to the changing of the seasons – moving like the leaves of the forest On the contrary, there appears to have been more of a when ‘Summer is green’ at sunset, and like the leaves of the forest when ‘Autumn hath blown’ by the morning. 13 And there lay the steed with his nostril all wide, struggle in the slaying of the horses. Their ‘nostril…wide’ Quote: “The Assyrian came down like the wolf on the Quote: “Like the leaves of the forest when Summer is green, and the ‘foam of…gasping’ insinuates that there has 14 been a struggle – demonstrating that the beasts were fold/ And his cohorts were gleaming in purple and gold;” That host with their banners at sunset were seen:” But through it there rolled not the breath of his pride; 4 15 more aware of their fate than their masters. Once Interesting Verbs – Varied, interesting verbs show the Archaic Language – Some of the vocabulary and syntax And the foam of his gasping lay white on the turf, again, figurative language (in the form of a simile) is contrast between the actions of the Assyrians on the way to choices are deliberately old-fashioned, in order to echo the 16 used to depict death in comparison with nature – this battle, and their inactivity once dead. Verbs such as language and sentence style of the bible. For example, word And cold as the spray of the rock-beating surf. time the cold ocean spray hitting rocks on the shore. ‘gleaming’ and ‘roll’ depict the army’s wealth and huge choices such as ‘strown’ and ‘wax’d’ would have been old- Gradual natural events that normally take significant numbers, making it seem formidable. However verbs such as fashioned even in Byron’s time. ‘Their hearts heaved once’ 17 And there lay the rider distorted and pale, time to ensue (e.g. bodies becoming ‘pale’ and ‘rust’ ‘unlifted’ and ‘unblown’ later accentuate their stillness and would have been more standard than ‘Their hearts but once developing on mail) have taken place overnight, demonstrating the power of God’s intervention. The silence after being killed by the Angel of Death. heaved.’ This helps to create a sense of the time and place. 18 With the dew on his brow, and the rust on his mail: 5 tents, banner, lances, and trumpets are all personified Quote: “And the tents were all silent, the banners alone, Quote: “And the eyes of the sleepers waxed deadly and chill/ 19 And the tents were all silent, the banners alone, (silent, alone, unlifted, unblown) to highlight how God’s The lances unlifted, the trumpet unblown.” And their hearts but once heaved, and for ever grew still!” power is all-encompassing, extending over everything in 20 The lances unlifted, the trumpet unblown. Form – The poem is written in quatrains using a distinctive Alliteration – The subtle use of alliteration adds to the the environment. ‘Unlifted’ and ‘unblown’ highlight once more that the deaths are not as a result of battle. rhythm, which creates an upbeat, vibrant poem, quite at sound imagery in some of the poem’s descriptions. For Activity returns in the final stanza, in the form of the odds with its deathly content. This helps to underline the example, the repetition of the ‘s’ sound in the “sheen of their effect of the deaths on those left behind (e.g. the contrast between the might of the army and the tragedy of spears was like stars on the sea” creates a hissing sound that 21 And the widows of Ashur are loud in their wail, widows’ ‘wail’). Byron creates a sense of good prevailing its death. There are six stanzas, each of which contain two brings a suggestion of evil. Furthermore, the repeated ‘h’ over evil, as the excesses of the Assyrian culture have pairs of rhyming couplets, creating an AABB rhyme scheme– sound in ‘their hearts but once heaved’ slows down the 22 And the idols are broke in the temple of Baal; now been destroyed – ‘the idols are broke’ and the this could be to echo the horses marching into battle. reading at the moment in which the soldiers’ lives are ended. 6 23 And the might of the Gentile, unsmote by the sword, ‘might of the Gentile’ have ‘melted like snow.’ Once Quote: “And the might of the Gentile, unsmote by the Quote: “And the sheen of their spears was like stars on the again, this simile compares death to a natural force. 24 Hath melted like snow in the glance of the Lord! Throughout the entirety of the poem, the subtle yet sword, Hath melted like snow in the glance of the Lord!” sea/ When the blue wave rolls nightly on deep Galilee.” substantial forces of God and nature are shown to easily overpower even men perceived to be powerful.

. Themes – A theme is an idea or message that runs throughout a text Poems for Comparison Wider Reading Good vs. Evil – The poem presents good and evil as two different sides. Evil is represented as early as the first The Destruction of Sennacherib can be “In the summer, Murray brought out the poetry separately as Hebrew The Man He line, as the Assyrians are described as being ‘the wolf on the fold.’ The Assyrians’ lavish luxuries and idols are compared with this poem in relation to Melodies. Despite the high price of one guinea for a thin folio, the work Killed sold ten thousand copies in two editions. Despite the title of the volume, presented in a negative light, whilst the actions of God against them are presented as being pure and natural. the theme of Good vs. Evil some of Byron’s contributions are not at all Hebrew (or even religious) in theme. Along with verses inspired by the Old Testament are love The Power of Nature/ God – God is shown to have the power to protect his people in times of need. His power The Destruction of Sennacherib can be songs and reflective pieces, some written before the book’s conception, though in their is shown through the forces of nature. The might of the Assyrian army is shown to be nothing in the face of God – The Prelude compared with this poem in relation to expressions of sadness, longing, and desolation, they voice sentiments found in the he merely has to ‘glance’ at them in order to allow nature to take its course on their bodies, rendering them lifeless. the theme of The Power of Nature biblical poems bewailing the lost Jewish homeland.” www.poetryfoundation.org

Context – The Man He Killed was written by Thomas Hardy in 1902. Line-by-Line Analysis Thomas Hardy – Thomas Hardy (1840-1928) The Boer Wars – The Boer Wars were a STANZA LINE POEM ANALYSIS was a Victorian novelist and poet, who mixed series of wars fought between the British 1 "Had he and I but met The poem follows an ABAB rhyme scheme elements of realism and romanticism in his writing. Empire and two Boer states (the South throughout, perhaps representing the regimented His works were highly critical of much in Victorian African Republic and Orange in Free State) 2 By some old ancient inn, orders that the men must follow. In the opening society – many of his novels and poems contain in the area now known as South Africa. As with many wars stanza, the speaker considers if the two men had tragic characters who struggle against both their emotions fought throughout the late 19th Century, the British fought in 1 met under different circumstances - perhaps they and social circumstances. Like many liberals of the time, 3 We should have sat us down to wet could have been friends. The speaker uses simple order to consolidate their empire. Initially, the Boer side language, with colloquialisms (e.g. ‘nipperkin’ – Hardy was openly against the Second Boer War, which fought effectively using guerilla attacks, until harsh British 4 Right many a nipperkin! containers for holding drinks) to demonstrate that Britain was fighting at the time the poem was written. counter-measures forced the Boer leaders to yield. these are ordinary, ‘everyday’ men. The Victorian Era – The Victorian era describes the Attitudes Towards War and Empire – The informal, hypothetical setting from chapter 1 is period in which Queen Victoria sat on the English Earlier in the 19th Century, Britain’s empirical 5 "But ranged as infantry, juxtaposed with the men’s actual position on the throne – between 1837 and 1901 (most of Hardy’s actions and wars had generally been viewed battlefield in stanza 2. This serves to accentuate the life). Whilst this was a time of industrial revolution, with patriotic pride by most public figures. 6 And staring face to face, features of each (warm, friendly vs. harsh, violent). Instead of drinking together, they shoot at each it was also an extremely harsh time to live, and the However, around the turn of the 20th Century, many were 2 differences between the lives of the richest and the poorest other – the reader is ‘jolted’ out of their false sense beginning to question the morality and ethics of these policies. 7 I shot at him as he at me, of security. ‘Staring face to face’ suggests proximity were exacerbated. The poor lived in danger and poverty on a The Boer War was one of the first examples of a conflict in – it could easily have been the speaker to have daily basis, and Hardy was a vocal critic of these inequalities. which British public opinion was not wholly supportive. 8 And killed him in his place. died. The simplistic description of death suggests that he has grown used to the violence. The first two lines of the third stanza highlight that Language/Structural Devices 9 "I shot him dead because — the speaker did not truly know why he killed the man; the repetition of ‘because’ echoes his stuttering

Simple Language – The predominant feature of the Colloquialisms – Alongside the absence of colourful figurative and stalling as he struggles to establish his reason. In language used across the poem is that it is extremely simple language, the inclusion of colloquial terms further enables the 10 Because he was my foe, lines 3 and 4, he tries to convince himself that this and matter-of-fact. This reflects the speaker’s background reader to view the speaker and his foe as ordinary men. A prime 3 was what he was supposed to do (‘just so’, ‘of and character: a working class, ‘everyday’ man. It is example is in the opening stanza, where the speaker imagines that 11 Just so: my foe of course he was; course.’) It is clear that the speaker is uncomfortable important that these common features of the speaker and the two would ‘wet/ Right many a nipperkin’, implying that in a with what he has done, and is trying to rationalise it different situation they may well drink together - ‘Nipperkin’ was a in his mind. The enjambment after ‘although’ at the the man he killed are understood by the reader, in order to term most used in the West Country. Another example is in stanza 4, 12 That's clear enough; although get across the message that regular people are being placed end of the stanza leads the reader hanging on the where the speaker suggests that the man he killed may have, like idea that he is still questioning his actions. into these horrific situations. Simple language is perhaps most he, ‘sold his traps’ (his belongings). These colloquialisms helps to The speaker begins to contemplate the parallels evident in the short description of the killing – emotions and further contextualise the speaker and foe as common men, building between the man’s life and his own – he supposes embellishment are left out, as the man has to do in his role. their connection to the reading public, thus aiding Hardy’s message. 13 "He thought he'd 'list, perhaps, that the man is somewhat like himself, enlisting ‘off Quote: “I shot at him as he at me, Quote: “We should have sat us down to wet hand’ as he was ‘out of work’ (‘perhaps’, ‘just as I’). And killed him in his place.” Right many a nipperkin!” 14 Off-hand like — just as I — The similarities between the men reinforces the idea Enjambment/ Caesura – Enjambment and caesura are Repetition and Fillers – Words are repeated, and fillers that they could have been acquaintances. The final 4 line of the stanza is particularly powerful – ‘no other used to affect the rhythm and pace of the poem, and to are inserted, to show the speaker struggling to think about 15 Was out of work — had sold his traps — reason why’ on the surface level refers to their emphasise meanings. For example, caesura and enjambment why he had to kill the man. For example, in stanza 3, reason for joining the war (not out of personal/ combine at the end of stanza 4 in order to slow the pace of ‘because’ is repeated over a line break, buying the speaker 16 No other reason why. political beliefs or hatred for the other). However, it the poem, and leave the reader paused on the idea of there thinking time. Similarly, ‘although’ and ‘perhaps’ show his also leaves the reader with the idea that the men being little reason for the two men to kill one another. hesitancy – he is clearly unsure about why he must kill. are fighting the war for ‘no reason’ – war is futile. Quote: “Was out of work — had sold his traps — Quote: "I shot him dead because — The final stanza is consistent in that the jovial, No other reason why.” Because he was my foe,” down-to-earth personality of the speaker remains – The poem contains 5 stanzas each of which are 4 – The poem is a dramatic monologue, which at the forefront, but the underlying tone is more Form Structure 17 "Yes; quaint and curious war is! dark and ominous. ‘Quaint’ and ‘curious’ are not lines long, with alternating rhyme in an ABAB pattern. There moves to and from the friendly idea of two men drinking two words that one would automatically consider to is also a regular metre: the first, second and fourth line of together in a public house, to one brutally killing each other 18 You shoot a fellow down describe war, but they do allude to the unusual every stanza are around 6 syllables long, whilst the third line on a battlefield. There appears to be a slow realization 5 experience of being violent towards someone he is slightly longer at around 8 syllables. This rigid structure can (marked by the caesura) throughout chapters 3 and 4 that 19 You'd treat if met where any bar is, bears no hatred towards. It also further emphasises be seen to represent the regimented lives and strict orders the man killed was in fact not an enemy. Stanza 5 sums up his background – he does not have the vocabulary that the men face in their lives as soldiers at war. the futility of war and its effect on those doing the fighting. to adequately communicate all of the horrors that 20 Or help to half-a-crown." he is experiencing. The use of the vocabulary Quote: "Had he and I met/ By some old ancient inn” Quote: "Yes; quaint and curious war is! You shoot a fellow down” ‘fellow’, ‘treat’, and ‘help’ in the final three lines underline the main message – we are all fellow people, and should treat each other as such.

. Themes – A theme is an idea or message that runs throughout a text Poems for Comparison Influences on the Poet The Futility of War – The poem has a strong anti-war message, as the reasons for killing the man are exposed “He had written about war long before 1914. He was fascinated by The Man He Killed can be compared with what he called ‘the Great Historical Calamity, or Clash of Peoples, to be weak. The speaker knows that he is the man’s ‘foe’ but he cannot fathom why. This serves to demonstrate Exposure this poem in relation to the theme of The the stupidity of war, in which men kill exterminate each other’s lives merely because they are told to. The inclusion artificially brought about some hundred years ago’. It seemed Futility of War impossible that another European upheaval could ever happen, and he of ‘everyday’ ideas and colloquialisms (inn, nipperkin) show that this it is ordinary people who are affected. agreed with Tolstoy’s denunciation of war, ‘with all its senseless and illogical

Dehumanisation – Neither the speaker nor the man that he killed are given a name – their identity has been Eden Rock can be contrasted with this crimes’. His sympathies were not with the generals and emperors but with the What Were removed. This represents the idea that they do not matter to those in power. The fourth stanza suggests that the poem in relation to the theme of victims, the sailor taken by the press-gang or the two young men in ‘The they Like? men are working class; they have more in common with each other than with those who command them. Dehumanisation Melancholy Hussar of the German Legion’ (1890) who are executed for desertion.http://www.warpoets.org/conflicts/great-war/thomas-hardy-1840-1928/

Context – The Prelude was originally written in 1798, but was frequently rewritten and published in 1850. Line-by-Line Analysis William Worsdsworth – William Wordsworth Romanticism – Romanticism was an artistic, STANZA LINE POEM ANALYSIS (1812-1889) is one of the most famous poets in literary, musical, cultural and intellectual 1 One summer evening (led by her) I found Lines 1-10 – Wordsworth immediately personifies English Literature. He was born and raised in the movement that originated in Europe in the latter 2 A little boat tied to a willow tree nature as her – stating that nature itself was guiding him. The little boat seems to symbolise a Lake District, a beautiful natural area of the UK half of the 18th Century. In most areas it peaked in 3 Within a rocky cove, its usual home. which clearly influenced the subject matter and themes in his the early 19th Century. Romanticism is characterised by its vessel for the emotional, spiritual journey that he is 4 Straight I unloosed her chain, and stepping in on. As he ‘unlooses’ the boat, he is setting his writing. After living in France for a while, returning, and then emphasis on emotions, as well as glorifying nature and past 5 Pushed from the shore. It was an act of stealth imagination free. The speaker then opens marrying, Wordsworth was made the Poet Laureate. In 1847, events – memories and settings are often colourfully 6 And troubled pleasure, nor without the voice themselves to all that nature has to offer, with after the death of his daughter, Wordsworth was said to be so described. It was partially in response to the scientific Wordsworth using vivid imagery to describe its upset that he could no longer write poetry. He died in 1850. rationalisation of nature of the era. 7 Of mountain-echoes did my boat move on; wonders. There is alliteration of soft ‘l’ and ‘m’ Writing the Prelude – Wordsworth began The Title – The full title of the poem is The 8 Leaving behind her still, on either side, sounds, reflecting the serenity. The oxymoron writing The Prelude in 1798, after experiencing Prelude: Growth of a Poet’s Mind. The poem 9 Small circles glittering idly in the moon, ‘troubled pleasure’ suggests conflicted emotions - nature shows pure beauty but also power. homesickness when in Germany. It is a long endeavours to do exactly as its subtitle implies, 10 Until they melted all into one track autobiographical poem that is written in 14 with each section roughly corresponding to a section in his Lines 11-20 – The speaker at this point is sure of his 11 Of sparkling light. But now, like one who rows, destination – the words ‘chosen’, ‘fixed’, and books. It was not published until shortly after his death, in poetic development. Wordsworth himself likened The Prelude 12 Proud of his skill, to reach a chosen point ‘unswerving’ demonstrate this sense of purpose and 1850. The poet uses childhood memories to share his quest for to a Gothic cathedral, explaining (in another of his texts, The 13 With an unswerving line, I fixed my view direction, whilst the ‘horizon’ represents the ultimate understanding in life. This extract in particular refers to a Excursian) that the poem was like ‘an antechapel through destination as a poet. The mention of the stars, with childhood memory in which he commandeers a boat before which the reader might pass’ in order to gain access to the 14 Upon the summit of a craggy ridge, all their celestial beauty, and the use of the realising the magnitude and power of nature around him. main body of his work. 15 The horizon's utmost boundary; far above adjective ‘elfin’, however, point towards something 16 Was nothing but the stars and the grey sky. more powerful and mystical. The simile comparing 17 She was an elfin pinnace; lustily the boat to a swan signifies the beauty and elegance with which it moves through the water. Language/Structural Devices 18 I dipped my oars into the silent lake, This is a tranquil and beautiful image of nature. Imagery – Wordsworth uses vivid imagery to create the Personification – In order to demonstrate the sheer power 19 And, as I rose upon the stroke, my boat Lines 21-28 – There is a drastic shift in tone, when night-time atmosphere throughout the opening of the of nature throughout the poem, Wordsworth chooses to 20 Went heaving through the water like a swan; the speaker encounters a beast of nature that he extract, using vocabulary associated with peace to describe personify several aspects of nature at different points in the 21 When, from behind that craggy steep till then can only describe as ‘black’ and ‘huge.’ There is repetition of the word ‘huge’ to emphasise its size, the tranquil natural phenomena. For example, words such as extract. For example, it is initially inferred that nature itself 22 The horizon's bound, a huge peak, black and huge, but also to mimic the boy’s stumbling fear. The ‘stealth’, ‘idly’, and ‘glistening’ paint a quiet, peaceful scene in (she) guided him to take the boat that evening. Later on in 1 23 As if with voluntary power instinct, peak is heavily personified, for example the the mind of the reader. This is at odds with the sinister, almost the poem, the mountain peak that so terrifies the speaker is 24 Upreared its head. I struck and struck again, suggestion that it has a ‘purpose’, as if it is bringing gothic-like imagery that is created in the second half of the heavily personified, for e.g. through the terms ‘voluntary some kind of message or intent towards him and poem through vocabulary such as ‘grave’, ‘black’ and ‘grim.’ power instinct’ and ‘upreared its head’ – giving it purpose. 25 And growing still in stature the grim shape that it ‘upreared its head’ and was ‘growing.’ The 26 Towered up between me and the stars, and still, Quote: “Small circles glittering idly in the moon/ Quote: “As if with voluntary power instinct, separation it creates between him and the stars 27 For so it seemed, with purpose of its own represents the idea that nature is standing between Until they melted all into one track.” Upreared its head. I struck and struck again,” 28 And measured motion like a living thing, him and the divine – it appears stronger than him.

Alliteration – The repetition of particular sounds is used Similes/Metaphors – Wordsworth also uses a number of 29 Strode after me. With trembling oars I turned, Lines 29-37 –The speaker turns back for the willow effectively by Wordsworth to evoke both tone and figurative language techniques to paint a precise image in tree with ‘trembling oars’, demonstrating his pure 30 And through the silent water stole my way atmosphere at different points in the poem. For example, the the mind of the reader, which alters as the tone of the poem anxiety. The boat is now described as ‘bark’, which frequent use of soft ‘l’ and ‘m’ sounds at the beginning of the changes. For example, the boat is initially described as being 31 Back to the covert of the willow tree; makes it seem more fragile than before – a poem (leaving, glittering, light, like) create a feeling of like a graceful ‘swan’, as the speaker is content and peaceful. 32 There in her mooring-place I left my bark, - perception influenced by the speaker’s fear. At the beginning of the poem man is painted as being at tranquility and peacefulness. This is in contrast to the ominous Later, when feeling far more vulnerable, the speaker 33 And through the meadows homeward went, in grave one with nature, but it seems as though here he has ‘d’ sound (days, dim, darkness) that dominates later. describes their vessel as simply being ‘bark.’ 34 And serious mood; but after I had seen realised that nature also has a great many dangers, Quote: “That spectacle, for many days, my brain Quote: “And, as I rose upon the stroke, my boat 35 That spectacle, for many days, my brain and should be feared. The vocabulary used e.g. Worked with a dim and undetermined sense” Went heaving through the water like a swan;” 36 Worked with a dim and undetermined sense ‘dim’ and ‘grave’ give a sense of foreboding. Structure – There are no stanzas throughout the extract, Oxymoron – An oxymoron is used in line six as the speaker 37 Of unknown modes of being; o'er my thoughts Lines 38-44 – The final lines reveal the lasting effect yet Wordsworth opts to use lots of punctuation to clarify states ‘it was an act of stealth, and troubled pleasure.’ 38 There hung a darkness, call it solitude that this experience has had on the speaker. What had used to be ‘familiar’ and ‘pleasant’ was now meanings and enable the reader to separate ideas. The Pleasure is usually something to be enjoyed, whilst someone 39 Or blank desertion. No familiar shapes extract is like a complete story in itself, in that it starts with that is ‘troubled’ is tormented to the degree that they cannot ‘darkness’ and ‘solitude’, as he realised that he could ‘one summer evening’ and ends with the effect of the action take pleasure from something. Whilst the boy does take 40 Remained, no pleasant images of trees, not control nature, and that the world around him was more dangerous than he had known. The use of ‘trouble to my dreams.’ The repeated use of ‘and’ throughout pleasure from taking the boat, it is implied that he cannot 41 Of sea or sky, no colours of green fields; 42 But huge and mighty forms, that do not live the terms ‘huge’ and ‘mighty’ show that he now saw the poem gives it a spoken feel, like someone telling a story. enjoy it fully, for some kind of underlying fear. nature as a greater power; ‘do not live’ gives the Quote: “Like living men, moved slowly through the mind Quote: “Pushed from the shore. It was an act of stealth 43 Like living men, moved slowly through the mind impression that these powers are immortal. The By day, and were a trouble to my dreams” And troubled pleasure, nor without the voice” 44 By day, and were a trouble to my dreams speaker’s mindset was forever altered.

Themes – A theme is an idea or message that runs throughout a text. Poems for Comparison Influences on the Poet Nature – As the speaker realises in this extract from The Prelude, humanity is only one part of nature. The natural The Prelude can be compared and Many of Wordsworth’s poems were influenced by his sister Dorothy, whose journal he liked to read. For example: “When we were in the woods beyond Gowbarrow Park we saw a contrasted with this poem through its world can make man feel extremely small and insignificant. The speaker feels power after taking the boat and Exposure few daffodils close to the waterside. We fancied that the lake had floated the seeds presentation of nature. directing it as he pleases, but is soon levelled by the power of nature (in the form of a large mountain). ashore, and that the little colony had so sprung up. But as we went along there were more and yet more; and at last under the boughs of the trees, we saw that there was Loneliness – Throughout large sections of The Prelude, Wordsworth is often on his own, and he makes it clear that The Prelude can be compared and Poppies/ War a long belt of them along the shore, about the breadth of a country turnpike road. this is important to him. He is able to think more clearly when he is alone, and is more affected by experiences and contrasted with these poems through its Photographer These beautiful descriptions of the natural surroundings were imitated in sections of places. In this sense, a more spiritual and mystical atmosphere is created through the idea of loneliness. presentation of loneliness. Worsdworth’s poems, for example ‘I Wandered Lonely as a Cloud’ and ‘The Prelude.’

Context – War Photographer was written by Carole Satyamurti in 1987. Line-by-Line Analysis Carole Satyamurti – Carole Satyamurti (born War Photographers – War photography STANZA LINE 1939) is a British poet, sociologist, and translator. involves photographing armed conflict and the Stanza 1: The speaker reveals how, to most people, She is a contemporary poet who deals with painful effect of this on people and places. War disturbing images of war remain safely within the subjects head on, for example cancer, war, and photographers often have to place themselves in frame. The photograph is from a different place death. Indeed, many of her poems show an interest in the harms way, and are sometimes injured or killed themselves and perhaps even a different time. This is not the fragility of human life. Her poems also detail how suffering attempting to capture the required images/ getting images 1 The reassurance of the frame is flexible case for the war photographer, who experiences affects different people. Satyamurti has taught at both the out of the war arena. Photojournalistic tradition (and other 2 - you can think that just outside it the place for real. Lines 2 and 3 suggest that the University of East London and the Tavistock Clinic, relating factors, e.g. differing cultures, etc.) suggests that war reader can convince themselves that the world psychoanalytic ideas to the stories that people tell. photographers should not influence what is being captured. 1 3 people eat, sleep, love normally around the image is normal, and that the ‘tragic’ Wars at the Time – At the time that the poem Dangers for War Photographers – In the 4 while I seek out the tragic, the absurd, is something that the photographer has needed to was written (in 1987) there were several major modern day, journalists and war photographers are 5 to make a subject. seek out ‘to make a subject.’ However, the use of wars and conflicts going on across the world. protected by the international conventions of armed the modal verb ‘can’ suggests that this is not the Principal amongst these was the Iran-Iraq War of 1980-1988, warfare, yet are still often considered targets by 6 Or if the picture's such as lifts the heart truth. The final lines of the stanza deal with the in which around 1 million people died in warfare conditions opposing groups. Sometimes this is the case in order for a 7 the firmness of the edges can convince you opposite, how people are convinced that the described as being similar to World War I. The Soviet-Afghan group to show their hatred of the other, whilst in other cases 8 this is how things are world is fine by poems that ‘lifts the heart.’ The War and the 1982 Lebanon War were other events that photographers are targeted to prevent the facts from being true experience remains with the photographer. immediately preceded the writing of the poem. With the widely shared. For example, in the Iraqi War between 2003 Stanzq 2: The photographer thinks of the privilege Cold War also still running, this was a worrying time. and 2009, 36 photographers were abducted or killed. 9 - as when at ascot once of others away from the war – the ‘sun-gilded girls’ create an image of a positive world with few 2 10 I took a pair of peach, sun-gilded girls problems. ‘Silk’, ‘champagne’ and ‘giggles’ add to 11 rolling, silk crumpled, on the grass the sense of luxury, as does the mention of ascot (a Language/Structural Devices 12 in champagne giggles prestigious horse racing venue). Enjambment and Caesura – Enjambment and caesura Imagery – Satyamurti uses a clever range of vocabulary to Stanza 3: The image of the ‘sun-gilded girls’ is serve to speed up slow down, link and break up different create vivid images in the mind of the reader. These are often deliberately contrasted with the horrible plight of sections of the poem. The heavy use of enjambment and juxtaposed together to accentuate their effect. For example, 13 -as last week, when I followed a small girl this ‘small girl.’ The verbs are also contrasted caesura throughout creates a sense of unease – the unsteady in stanza 2, Satyamurti describes a ‘pair of peach, sun-gilded 3 14 staggering down some devastated street, ‘staggering’ rather than ‘rolling’ – showing her flow of the poem makes the reader more insecure and girls’ – the sun represents happiness and health, whilst the discomfort. She is a ‘small girl’, but bears apprehensive, mirroring the feelings of those caught in the ‘champagne’ that they drink and their ‘silk’ clothes portray 15 hip thrust out under a baby's weight. responsibility for a baby. ‘Finger pressed’ suggests conflict. Caesura and enjambment also combine to create a wealth. The ‘grass’ that they lay on is juxtaposed in the next 16 she saw me seeing her; my finger pressed. the moment before an act of violence – the girl is the victim and the viewers are predators. sense of being cut off. The caesura in line 23 after ‘almost- stanza with the ‘devastated street’ which the small girl is smile’ suggests that her happiness has been cut off. ‘staggering’ down. The reader is jarred by the contrast. Stanza 4: ‘First bomb of the morning’ reveals that 17 At the corner, the first bomb of the morning the violence is frequent/ every day. ‘Dark scream’ Quote: “The picture showed the little mother Quote: “rolling, silk crumpled, on the grass… 18 shattered the stones . demonstrates the evil of war, whilst ‘mouth too the almost-smile. Their caption read” … staggering down some devastated street” small’ reinforces the idea that children are exposed Extended Metaphor – An extended metaphor runs Sibilance – Sibilance is used for contrasting effects 4 19 Instinct prevailing, she dropped her burden to violence and brutality when aged far too throughout the poem which compares the photographer/ throughout stanzas 2 and 3. In stanza 2, the repetition of the 20 and, mouth too small for her dark scream, young. Repetition of ‘b’ and ‘d’ echoes the sound reader to predators and the girl victim in the war to prey. ‘s’ sound in ‘silk crumpled, on the grass, in champagne giggles’ 21 began to run... of the bombing. She drops the baby – it is never Several language choices aid this depiction. For example, the echoes the soft of hiss of the champagne fizzing, or even the revealed what happens to either of them – as speaker describes how they ‘seek out’ and ‘follow’ the girl, light-hearted giggling of the girls. In stanza 3, on the other though this is not important to the consumer. before waiting with ‘finger pressed.’ She is described like some hand, it is used to show how sinister and evil war is. It may 22 The picture showed the little mother Stanza 5: The final stanza reveals how pictures fleeing animal, through vocabulary such as ‘fleeing’, ‘scream’ also perhaps represent the whistling of falling bombs, and 23 the almost-smile. Their caption read can be deceiving. In the picture, before dropping and ‘run.’ This helps to show her desperate situation. sounds of objects shattering around the landscape. the baby as running, the girl looked almost to Quote: “Instinct prevailing, she dropped her burden Quote: “staggering down some devastated street, 24 'Even in hell the human spirit have been smiling. Furthermore, the caption and, mouth too small for her dark scream,” she saw me seeing her; my finger pressed.” 25 triumphs over all.' suggests that even in these times of war, people

Form – The poem is a monologue read by a single character Structure – The poem begins in the present tense, as if the 26 But hell' like heaven, is untidy, have the strength to be happy - the photographer – the war photographer. There are five stanzas, each of photographer is confessing the false nature of her profession. 5 has aided this deception. This appears to be the which are between 4 and 8 lines long. The first and last The following stanzas are in the past tense. Stanza 2 describes 27 its boundaries truth that the public wants to hear. Using the paragraphs are longer. Some lines appear to be cut happy ascot girls, which is juxtaposed in stanza 3 with the girl 28 arbitrary as a blood stain on a wall. analogy of hell, the writer explains that the true drastically short, perhaps representing the key message - that in a war torn country. In stanza 4, she drops the baby in her narrative in these war-torn areas does not end at the photographer’s photos only tell a part of the story. care as she flees. Stanza 5 summarises the key message. the borders of photographs –suffering extends far Quote: “ But hell' like heaven, is untidy, Quote: “The reassurance of the frame is flexible beyond what is seen in a photo. The simile in the its boundaries” - you can think that just outside it” final line provides further imagery for this idea.

Themes – A theme is an idea or message that runs throughout a text. Poems for Comparison Further Reading/ Watching Suffering – Satyamurti exposes the true horrors of war, which exist beyond the images seen in the media. In order “The fact it does not reference a specific war makes it a universal War Photographer can be compared and criticism of modern journalistic methods. The poem deals with a to exemplify the true suffering that people experience, Satyamurti details a young girl who is forced to drop a Exposure contrasted with this poem in relation to photographer’s internal conflict- perhaps the guilt the persona feels at baby and run when bombs go off nearby. This image is contrasted by the relative joy of the ‘sun-gilded’ ascot girls. the theme of Suffering. taking an image of a girl in a street in a war-zone. The girl in the image is carrying a baby, which she drops upon hearing a bomb go off- Ignorance– The speaker seeks to clarify the real nature of war and conflict to the ignorant viewing public. In the No Problem can be compared and regardless of this disturbing scene, the image itself is used in a newspaper What Were opening stanza, the speaker reveals how the reader can dismiss horrors that exist within the frame of a photo as contrasted with this poem in the approach to demonstrate how the goodness of humanity still exists in a war zone.” They Like? little more than a faraway story. The war photographer, however, is acutely aware of the real horrors of war. to the theme of Ignorance. https://www.newcollege.leicester.sch.uk/newcollege/files/War-Photographer- Support-Sheet.pdf

Context – What Were They Like? was written by Denise Levertov, and was published in 1971. Line-by-Line Analysis Denise Levertov – Priscilla Denise Levertov The Viet Cong and American Mistrust – STANZA LINE POEM ANALYSIS (1923-1997) was a highly-regarded American The Viet Cong were a communist South 1 1) Did the people of Viet Nam Lines 1-4: The unusual structure is immediately poet. Despite being born and raised in Ilford, Vietnamese group, funded by the north. They evident - the speaker levies a number of questions England, many of her works deal specifically with used guerilla warfare, disguising themselves in 2 use lanterns of stone? towards an unknown listener (some have suggested American themes. Particularly in the 60s and 70s, Levertov amongst the villagers and jungle terrain. Owing partly to the 1 possibly a child to their soldier father). The mention of ‘Vietnam’ in line 1 immediately sets the tone. The delved into socio-political poetry – she founded the ‘Writers 3 difficulties that US soldiers faced in establishing the enemy, 2) Did they hold ceremonies repetition of the past tense ‘did’ indicates that their and Artists Protest against the War in Vietnam’ and took many were hostile towards innocent citizens (some culture is now a thing of the past. ‘Lanterns’, part in numerous rallies in order to raise awareness of these committed war crimes). The Air Force burnt forests to drive 4 to reverence the opening of buds? ‘ceremonies’ and ‘reverence’ suggest that these were issues. She even spent some time in jail for civil disobedience. out the Viet Cong, destroying homes and injuring villagers. a spiritual people, with a deep-rooted culture. 3) Were they inclined to quiet laughter? Lines 5-9: Vivid imagery referencing Vietnamese life Vietnam War – The Vietnam War, also known American Public Opinion – Extensive 5 as the Second Indochina War, was a conflict that military casualties and the involvement of US continues to be generated. ‘Quiet laughter’ implies took place in Vietnam, Laos, and Cambodia soldiers in war crimes created discord amongst 4) Did they use bone and ivory, a peaceful, respectful culture. The reference to the 6 precious materials (bone, ivory, jade, silver) for between 1st November 1955 and 30th April 1975. Americans in relation to the war effort. Images such as that of jade and silver, for ornament? ornaments highlights their skill and craft, whilst also It was officially fought between North Vietnam ‘Napalm Girl’ (shown in the box above) circulated in the US 7 forcing the reader to contemplate the fragility of and the government of South Vietnam. North Vietnam was media, and demonstrated the catastrophic effect that the 2 their culture. The enquiries about literature and oral 5) Had they an epic poem? supported by the Soviet Union and other communist nations, drawn-out war was having on innocent Vietnamese people. 8 traditions (poem, speech, singing) reminds the whilst South Vietnam was aided by the United States and As protests mounted, the US signed the Paris Peace Treaty reader that these people had their own voices, their 6) Did they distinguish between speech and singing? anti-communist allies. The war resulted in Vietnam, Laos and and removed all forces from Vietnam. The North Vietnam 9 own ideas, which are not now easily identifiable. Cambodia all becoming communist countries by 1975. then succeeded in defeating the south, in the ‘Fall of Saigon.’ The free verse structure and numbering of questions fragments the reading, mirroring their culture. 10 1) Sir, their light hearts turned to stone. Lines 10-16: A second speaker responds to the first speaker’s questions. The use of ‘sir’ suggests 11 It is not remembered whether in gardens Language/Structural Devices subservience, reflecting the oppression of the 12 stone lanterns illumined pleasant ways. Vietnamese people. The metaphor in line 10 depicts Interesting Verbs and Adjectives – Levertov creates a Sound Imagery – A number of different techniques are how the pain and destruction of the war has vivid image of the placid and idyllic lives that the citizens of used to represent both the peaceful lives of the villagers and 13 2) Perhaps they gathered once to delight in blossom, removed all elements of warmth from their lives. ‘It Vietnam lived before the war, through a range of interesting horrific sounds of war. For example, repetition of the soft ‘l’ is not remembered’, repeated in the stanza, 14 but after their children were killed emphasises how the culture has been lost. The adjectives (peaceful, illuminated, light, pleasant) and verbs sound in line 12 (“lanterns illuminated”) underlines the 15 there were no more buds. juxtaposition of pleasantries of the past (‘delight in (reverence, singing, delight). These are then juxtaposed with villagers’ tranquil lives, whilst the alliteration of the harsh ‘b’ blossom’) alongside present horrors (‘children were wildly more violent imagery to describe their lives in the war, sound in line 16 (“bitter to the burned mouth”) echoes the 16 3) Sir, laughter is bitter to the burned mouth. killed’) emphasises the violent extent of the change. for example adjectives such as burned and bitter and verbs dropping of bombs. Furthermore, onomatopoeic words such ‘Buds’ - a metaphor for children – no opportunity to such as scream, charred and smashed. These vocabulary as ‘smashed’ and ‘scream’ allow the reader to hear the 3 17 4) A dream ago, perhaps. Ornament is for joy. flourish. Alliteration of ‘b’ – harsh sound mirroring choices demonstrate how horrifically life changed for them. destruction and fear in the villages during wartime. 18 All the bones were charred. the bombs. ‘Burned’ reference to napalm bombing. Quote: “When peaceful clouds were reflected in the paddies Quote: “When bombs smashed those mirrors 19 5) It is not remembered. Remember, Lines 17-24: The earlier image of ornamental bone is and the water buffalo stepped surely along terraces,” there was time only to scream.” transformed into the horrific idea of burnt human Metaphors – Figurative language is used sparingly, but to Analogy – Levertov compares the lives of the villagers 20 most were peasants; their life skeletons. 20-24 offers further fragments of warm memories of the past. The simplicity of the villagers’ powerful effect. For example, the reference to the children as before the war to natural events, demonstrating the 21 was in rice and bamboo. ‘buds’ in line 15. Such a comparison underlines the children’s harmony and simplicity with which they live. For example, lives (‘in rice and bamboo’) shows how far removed 22 When peaceful clouds were reflected in the paddies the victims were from the complicated political beauty and innocence, but also their potential to flower and their singing is compared to the ‘flight of moths in moonlight’, causes of the war. References to nature (‘clouds’, flourish. This will now never happen, as there are ‘no more reflecting its humming, chant-like nature, and also 23 and the water buffalo stepped surely along terraces, ‘buffalo’) once more shows the peace with which the buds’, suggesting the children have been killed – hope has demonstrating how serene and undisturbed their culture was. people lived. The mention of ‘fathers’ and ‘sons’ been eradicated in a place where there was once promise. The villagers were at one with their surroundings. 24 maybe fathers told their sons old tales. emphasises the strong family bonds and traditions. Quote: “but after their children were killed Quote: “It was reported that their singing resembled 25 When bombs smashed those mirrors Lines 25-31: Line 25 suddenly brings the reader back there were no more buds.” the flight of moths in moonlight.” 26 there was time only to scream. to the horrors of the present, with the sound Form/Structure – The poem is structured unusually, with Repetition – Several words and phrases are repeated imagery of the onomatopoeic ‘smash’ of the mirrors, two distinct stanzas. The first stanza contains six questions, throughout the poem, in order to emphasise their 27 6) There is an echo yet and the ‘scream’ of those in physical and emotional which are then answered in the longer second stanza. The importance. For example, throughout stanza 2, the term ‘it is pain. Only an ‘echo’ of their culture now remains – 28 of their speech which was like a song. the enjambment after ‘yet’ leaves the reader simpler first verse may be seen to reflect the simple life lived not remembered’ is repeated, to highlight how aspects of the 4 29 It was reported that their singing resembled hanging, almost listening out, for the remnants of before the war, whereas the more complex, device-filled Vietnamese culture have been eroded from memory by the their voice. The analogy between their singing and second stanza shows the convolutions of wartime Vietnam. destructive, horrific events of the war. 30 the flight of moths in moonlight. occurrences of nature once more highlights the Quote: “Did the people of Viet Nam/ use lanterns of stone?” organic and peaceful nature of the their culture, Quote: “It is not remembered. Remember.” 31 Who can say? It is silent now. which has now been obliterated (‘it is silent now’_

Themes – A theme is an idea or message that runs throughout a text. Poems for Comparison The Poet’s Thoughts War – The harsh realities of war are exposed through vivid imagery utilised at specific points in the poem, and in What Were They Like? can be compared …of enduring importance is her relation, through poetry, to language. Charge of the particular the experiences for everyday people. For example, Levertov details the bombs smashing the mirrors and and contrasted with this poem in relation From early on she said that poetry is a means “to a saner state in the Light Brigade midst of our being.” We get there through language carefully, the screams as people died. Through the inclusion of these details, Levertov emphasises the horrors of war. to the theme of remembrance thoughtfully and respectfully used. She said, paraphrasing the philosopher Martin Culture – Different aspects of Vietnamese culture are enquired about through the various questions and What Were They Like? can be compared Heidegger, that “to be human is to be a conversation,” and that “any use of language is an action toward others.” Little wonder that her words still speak so responses – literature, art, music, religion, language and technology. The repeated phrase in the second stanza ‘it is Poppies with this poem in the approach to the directly to us. Denise Levertov was fond of quoting the English Romantic poet not remembered’ demonstrates that many aspects of Vietnamese culture have now been obliterated.gcxwd1` theme of loss and suffering. William Wordsworth: “Language is not the dress but the incarnation of thought.”